:c^ 



CYMBELINI 



EDITED BY W. J. ROLFI 





Class 



Book 



'i oS 



COPYRIGHT DEPOSIT. 



SHAKESPEARE'S 



TRAGEDY OF 



C Y M B E L I N E 



EDITED, WITH NOTES 
BY 

WILLIAM J. ROLFE, Litt.D. 

FORMERLY HEAD MASTER OF THE HIGH SCHOOL- 
CAMBRIDGE, MASS. 



ILLUSTRATED 



NEW YORK . : • CINXIXNATI • : • CHICAGO 

AMERICAN BOOK COMPANY 



OCT. u mi^ 

OOPT a. 



&hakc8pcar i antt 



Copyright, i88i and 1898, by 
HARPER & BROTHERS. 

Copyright, 1905, by 
WILLIAM J. ROLFE. 



CYMBELINE. 
W. P. I 



PREFACE 

This play, which I first edited in 1881, is now thor- 
oughly revised on the same general plan as the earlier 
volumes in the series. 

The play is so badly printed in the folio, the style is 
so involved, and many passages are so obscure, that it 
has seemed advisable in the Notes to retain many of 
the textual variations recorded in my former edition, 
and to summarize the conflicting opinions of the lead- 
ing editors and critics on the more important of the 
perplexing passages. These controverted points fur- 
nish good material for discussion in classes and clubs, 
and critical students and readers will be more or less 
interested in them. 



CONTENTS 



Introduction to Cymbeline 
The History of the Play . 
The Sources of the Plot . 
General Comments on the Play 

Cymbeline 
Act I 
Act II 
Act III 
Act IV 
ActV 

Notes . 



Appendix 

Charles Cowden-Clarke's Comments on the Play 
The Time-Analysis of the Play 
List of Characters in the Play 



PAGE 

9 

9 

.II 

13 

15 
17 
49 
70 
102 
127 

167 

267 
282 
284 



Index of Words and Phrases Explained 



287 







Stonehenge 




Romans and Barbarians (from Coluivin of Trajan) 



INTRODUCTION TO CYMBELINE 



The History of the Play 



Cynibeline was first printed in 1623, and is the last 
play in the folio. The earliest allusion to it that has 
been discovered is in the Diary of Dr. Simon Forman 
(a noted quack and astrologer), which belongs to the 
years 16 10 and 161 1. His sketch of the plot (not 
dated) is as follows : — 

*' Remember also the storri of Cymbalin king of Eng- 
land, in Lucius tyme, howe Lucius Cam from Octavus 
Cesar for Tribut, and being denied, after sent Lucius 
with a greate Arme of Souldiars w^ho landed at milford 
haven, and Affter wer vanquished by Cimbalin, and 
Lucius taken prisoner, and all by means of 3 outlawes, 
of the which 2 of them were the sonns of Cimbalim, 

9 



lo Cymbeline 

stolen from him when they but 2 yers old by an old man 
whom Cymbalin banished, and he kept them as his own 
sonns 20 yers with him in A cave. And howe [one] of 
them slewe Clotan, that was the quens sonn, goinge To 
milford haven to sek the love of Innogen the kinges 
daughter, whom he had banished also for lovinge his 
daughter, and howe the Italian that cam from her love 
conveied him selfe into A Cheste, and said yt was a 
chest of plate sent from her love and others, to be pre- 
sented to the kinge. And in the depest of the night, 
she being aslepe, he opened the cheste and cam forth 
of yt. And vewed her in her bed, and the markes of 
her body, and toke a-wai her braslet, and after Accused 
her of adultery to her love, etc. And in thend howe he 
came with the Romains into England and was taken 
prisoner, and after reveled to Innogen who had turned 
her self into mans apparrell and fled to mete her love 
at milford haven, and chanchsed to fall on the Cave 
in the wodes wher her 2 brothers were, and howe by 
eating a sleping Dram they thought she had bin deed, 
and laid her in the wodes, and the body of Cloten by 
her in her loves apparrell that he left behind him, and 
howe she was found by lucius, etc." 

The play was probably a new one when Forman 
saw it in 16 10 or 161 1. The critics generally date it 
in 1609 or 1 610. The internal evidence of style and 
metre indicates that it was one of the latest of the 
plays. 

Cymbeline is badly printed in the folio, and the in- 



Introduction ii 

volved style makes the correction of the text a task of 
more than usual difficulty. The critics generally agree 
that the vision in v. 4 cannot be Shakespeare's. Like 
the parts of Hymen in As You Like It and of Hecate 
in Macbeth, it is quite certain from internal evidence 
that it is an interpolation by another hand. All these 
spurious passages are of the same type, and all were 
probably thrust into the plays by the theatrical man- 
agers, who were fond of introducing such mythological 
or supernatural matter when the dramatist had not 
provided it. It tickled the ears of the groundlings, 
like the songs and dances that were often added to 
the original text in the same way. 

The Sources of the Plot 

Shakespeare took the names of Cymbeline and his 
two sons from Holinshed, together with a few historical 
facts concerning the king ; but the story of the stealing 
of the princes and their life in the wilderness appears 
to be his own. 

The story of Imogen, which is so admirably inter- 
woven with that of the sons of Cymbeline, was taken, 
directly or indirectly, from the Decamei^one of Boccaccio, 
in which it forms the ninth novel of the second day. 
No English translation of it is known to have been 
made in Shakespeare's time. A version appeared in 
a tract entitled Westward for Smelts, which was pub- 
lished in 1620. Malone speaks of an edition of 1603 ; 
but this is probably an error, as the book was not 



12 Cymbeline 

entered upon the Stationers' Registers until 1619-20. 
This translation, moreover, lacks some important de- 
tails which the play has in common with the Italian 
original. 

The chief incidents of the story had been used in 
a French miracle-play of the Middle Ages, and also in 
the old French romances of La Violette and Flore 
et Jehanne ; but we have no reason to suppose that 
Shakespeare made any use of these. In one of the 
romances the lady has a mole upon her right breast ; 
in Boccaccio, as in Shakespeare, it is on her left breast. 
This mark is not mentioned at all in Westward for 
Smelts, In the latter, moreover, the person corre- 
sponding to lachimo conceals himself under the bed 
in the lady's chamber, while in the French and Italian 
versions he is conveyed thither in a chest. 

White has noted another circumstance which seems 
to show that Shakespeare went directly to Boccaccio, 
and that The Winter's Tale and Cymbeline were com- 
posed at about the same period : " In Boccaccio's novel 
the convicted slanderer is condemned by the Sultan 
to be anointed with honey, and exposed to the rays of 
the sun, tied to a stake upon some elevated spot, and 
to remain there until his flesh falls from his bones. 
From this doom it seems quite clear that Shakespeare 
took the hint for that mock sentence which Autolycus 
passes upon the clown in Winter's Tale^ iv. 4. 812: 
' He has a son who shall be flayed alive ; then 'nointed 
over with honey ; . . . then, raw as he is, and in the 



Introduction 13 

hottest day prognostication proclaims, shall he be set 
against a brick wall, the sun looking with a southward 
eye upon him, where he is to behold him with flies 
blown to death.' " 

It has been pointed out by Schenkl that the inci- 
dents of Imogen's seeking refuge in the wilderness and 
her deathlike sleep occur in the German fairy-tale of 
Schneewittchen, 

General Comments on the Play 

The transition from the tragedies to the plays that 
follow is most remarkable. From the gloom and horror 
of Othello, Macbeth, and Lear, the poet emerges into 
the o:enial sunshine that irradiates the scenes of Cvmbe- 
line, The Tempest, and The Winter's Tale, Inexorable 
retribution for sin is no longer the keynote of his 
dramas, but charity, forgiveness, reconciliation, benig- 
nity almost divine. Dowden aptly calls these last plays 
'^ Romances." " In all there is a beautiful romantic 
background of sea or mountain. The dramas have a 
grave beauty, a sweet serenity, which seem to render 
the name ' comedies ' inappropriate ; w^e may smile 
tenderly, but we never laugh loudly, as we read them." 

Dr. Johnson says of Cymbeline : '' This play has 
many just sentiments, some natural dialogues, and some 
pleasing scenes, but they are obtained at the expense 
of much incongruity. To remark the folly of the fic- 
tion, the absurdity of the conduct, the confusion of the 
names and manners of different times, and the impossi- 



14 Cymbeline 

bility of the events in any system of life, were to waste 
criticism upon unresisting imbecility, upon faults too 
evident for detection, and too gross for aggravation." 

It was hardly necessary for Drake, in his Shakspeare 
and his Times (published in 1817, and long out of print), 
to express astonishment at this " sweeping condemna- 
tion," and to add: "Of the enormous injustice of this 
sentence nearly every page of Cymbeline will, to a 
reader of any taste or discrimination, bring the most 
decisive evidence. . . . Imogen, the most lovely and 
perfect of Shakspeare 's female characters — the pattern 
of connubial love and chastity, by the delicacy and pro- 
priety of her sentiments, by her sensibility, tenderness, 
and resignation, by her patient endurance of persecu- 
tion from the quarter where she had confidently looked 
for endearment and protection — irresistibly seizes upon 
our affections. . . . When compared with this fas- 
cinating portrait, the other personages of the drama 
appear but in a secondary light. Yet are they ade- 
quately brought out and skilfully diversified : the 
treacherous subtlety of lachimo ; the sage experience 
of Belarius ; the native nobleness of heart and innate 
heroism of mind which burst forth in the vigorous 
sketches of Guiderius and Arviragus ; the temerity, 
credulity, and penitence of Posthumus ; the uxorious 
weakness of Cymbeline ; the hypocrisy of his Queen ; 
and the comic arrogance of Cloten, half fool and half 
knave, produce a striking diversity of action and senti- 
ment." 



CYMBELINE 



DRAMATIS PERSONS 

Cymbeline, King of Britain 

Cloten, son to the Queen by a former husband. 

PosTHUMUS Leon'atl'S, a gentleman, husband to Imogen. 

Belarius, a banished lord, disguised under the name of Morgan. 

GuiDERius, 1^ sons to Cymbeline, disguised under the names of Polydore 

Arviragus, \ and Cadwal, supposed sons to Morgan. 

Philario, friend to Posthumus, ' t. i- 

Iachimo, friend to Philario, \ ^^aiians. 

Caius Lucius, general of the Roman forces. 

PiSANio, servant to Posthumus. 

Cornelius, a physician. 

A Roman Captain. 

Two British Captains. 

A Frenchman, friend to Philario. 

Two Lords of Cymbeline's court. 

Two Gentlemen of the same. 

Two Gaolers. 

Queen, wife to Cymbeline. 

Imogen, daughter to Cymbeline by a former queen. 

Helen, a lady attending on Imogen. 

Lords, Ladies, Roman Senators, Tribunes, a Soothsayer, a Dutchman, 
a Spaniard, Musicians, Officers, Captains, Soldiers, INIessengers, and 
other Attendants. 

Apparitions. 

Scene : Britairt ; Ro7ne, 







Leonatus and Imogen 



ACT I 

Scene I. Britain. The Gardeji of Cymheliiie' s 

Palace, 

E7iter two Gentlemen 

1 Gentleman , You do not meet a man but frowns : 

our bloods 
No more obey the heavens than our courtiers 
Still seem as does the king. 

2 Gentle7nan. But what 's the matter ? 

I Gentleman. His daughter, and the heir of 's king- 
dom, whom 

CYMBELINE — 2 1 7 



1 8 Cymbeline [Act i 

He purpos'd to his wife's sole son — a widow 

That late he married — hath referr'd herself 

Unto a poor but worthy gentleman. She 's wedded, 

Her husband banish'd, she imprison'd ; all 

Is outward sorrow, though I think the king 

Be touched at very heart. 

2 Gentleman. None but the king ? lo 

1 Gentleman. He that hath lost her too ; so is the 

queen, 
That most desir'd the match ; but not a courtier. 
Although they wear their faces to the bent 
Of the king's looks, hath a heart that is not 
Glad at the thing they scowl at. 

2 Gentleman. And why so ? 

1 Gentleman, He that hath miss'd the princess is a 

thing 
Too bad for bad report ; and he that hath her — 
I mean, that married her, alack, good man ! 
And therefore banish'd — is a creature such 
As, to seek through the regions of the earth 20 

For one his like, there would be something failing 
In him that should compare. I do not think 
So fair an outward and such stuff within 
Endows a man but he. 

2 Gentleman. You speak him far. 

1 Gentleman. I do extend him, sir, within himself, 
Crush him together rather than unfold 

His measure duly. 

2 Gentleman, What 's his name and birth ? 



Scene I] Cymbeline ig 

1 Gentleman. I cannot delve him to the root. His 

father 
Was call'd Sicilius, who did join his honour 
iVgainst the Romans with Cassibelan, 30 

But had his titles by Tenantius, whom 
He serv'd with glory and admir'd success, 
So gain'd the sur-addition Leonatus ; 
And had, besides this gentleman in question, 
Two other sons, who in the wars o' the time 
Died with their swords in hand, for which their father. 
Then old and fond of issue, took such sorrow 
That he quit being, and his gentle lady. 
Big of this gentleman our theme, deceas'd 
As he was born. The king he takes the babe 40 

To his protection, calls him Posthumus Leonatus, 
Breeds him and makes him of his bed-chamber, 
Puts to him all the learnings that his time 
Could make him the receiver of ; which he took, 
As we do air, fast as 'twas minister'd, 
And in 's spring became a harvest, liv'd in court — 
Which rare it is to do — most prais'd, most lov'd, 
A sample to the youngest, to the more mature 
A glass that feated them, and to the graver 
A child that guided dotards ; to his mistress, 50 

For whom he now is banish 'd, her own price 
Proclaims how she esteem 'd him and his virtue. 
By her election may be truly read 
What kind of man he is. 

2 Gentleman. I honour him 



20 Cymbeline [Act I 

Even out of your report. But, pray you, tell me, 
Is she sole child to the king ? 

1 Gentleman, His only child. 
He had two sons — if this be worth your hearing, 
Mark it — the eldest of them at three years old, 

I' the swathing-clothes the other, from their nursery 
Were stolen, and to this hour no guess in knowledge 
Which way they went. 

2 Gentleman, How long is this ago ? 61 

1 Gentleman, Some twenty years. 

2 Gentleman. That a king's children should be so 

conveyed, 
So slackly guarded, and the search so slow 
That could not trace them ! 

1 Gentleman. Howsoe'er 't is strange, 
Or that the negligence may well be laugh 'd at, 

Yet is it true, sir. 

2 Ge7itleman. I do well believe you. 

I Gentleman, We must forbear ; here comes the gen- 
tleman, 
The queen, and princess. [^Exeunt, 

Enter the Queen, Posthumus, and Imogen 

Queen. No, be assur'd you shall not find me, daugh- 
ter, 70 
After the slander of most stepmothers. 
Evil-eyed unto you ; you 're my prisoner, but 
Your gaoler shall deliver you the keys 
That lock up your restraint. — For you, Posthumus, 



Scene I] Cymbellne 21 

So soon as I can win the offended king 
I will be known your advocate ; marry, yet 
The fire of rage is in him, and 't were good 
You lean'd unto his sentence with what patience 
Your wisdom may inform you. 

Posthumiis, Please your highness, 

I will from hence to-day. 

Queen. You know the peril. 80 

I '11 fetch a turn about the garden, pitying 
The pangs of barr'd affections, though the king 
Hath charg'd you should not speak together. \_Exit. 

Imogen. O 

Dissembling courtesy ! How fine this tyrant 
Can tickle where she wounds ! — My dearest husband, 
I something fear my father's wrath ; but nothing — 
Always reserv'd my holy duty — what 
His rage can do on me. You must be gone ; 
And I shall here abide the hourly shot 
Of angry eyes, not comforted to live 90 

But that there is this jewel in the world 
That I may see again. 

Posthtinms. My queen ! my mistress ! 

O lady, weep no more, lest I give cause 
To be suspected of more tenderness 
Than doth become a man. I will remain 
The loyal'st husband that did e'er plight troth ; 
My residence in Rome at one Philario's, 
Who to my father was a friend, to me 
Known but by letter. Thither write, my queen. 



12 Cymbeline [Act I 

And with mine eyes I '11 drink the words you send, loo 
Though ink be made of gall. 

Re-enter Queen 

Queen, Be brief, I pray you. 

If the king come, I shall incur I know not 
How much of his displeasure. — \_Aside'\ Yet I '11 move 

him 
To walk this way. I never do him wrong 
But he does buy my injuries to be friends, — 
Pays dear for my offences. \_Exit. 

Posthumus. Should we be taking leave 

As long a term as yet we have to live, 
The loathness to depart would grow. Adieu ! 

1)71 ogen. Nay, stay a little ; 
Were you but riding forth to air yourself, no 

Such parting were too petty. Look here, love. 
This diamond was my mother's ; take it, heart, 
But keep it till you woo another wife, 
When Imogen is dead. 

Posthiunics. How, how ! another ? — 

You gentle gods, give me but this I have. 
And sear up n^y embracements from a next 
With bonds of death ! — \_Fu/fing on the 77 ng.] Remain, 

remain thou here 
While sense can keep it on. — And, sweetest, fairest, 
As I my poor self did exchange for you 
To your so infinite loss, so in our trifles 120 

I still win of you. For my sake wear this ; 



Scene I] Cymbeline 23 

It is a manacle of love, I '11 place it 
Upon this fairest prisoner. 

\_Piitting a bracelet upon her arjn. 
Imogen. O the gods ! 

When shall we see again ? 

Enter Cymbeline and Lords 

Posthu77iiis. Alack, the king ! 

Cy7nbeli7ie. Thou basest thing, avoid ! hence, from 
my sight ! 
If after this command thou fraught the court 
With thy un worthiness, thou diest. Away ! 
Thou Tt poison to my blood. 

Posthumus. The gods protect you, 

And bless the good remainders of the court ! 
I am gone. \_Exit. 

Imogen, There cannot be a pinch in death 130 

More sharp than this is. 

Cy??ibetine. O disloyal thing, 

That shouldst repair my youth, thou heap'st 
A year's age on me ! 

l77iogen. I beseech you, sir, 

Harm not yourself with your vexation. 
I am senseless of your wrath ; a touch more rare 
Subdues all pangs, all fears. 

Cymbeli7ie. Past grace ? obedience ? 

l77ioge7i. Past hope, and in despair ; that way, past grace. 

Cy7nbeline. That mightst have had the sole son of my 
queen ! 



24 Cymbeline [Act I 

Imogen. O blest, that I might not ! I chose an eagle, 

And did avoid a puttock. 140 

• Cymbeline, Thou took'st a beggar, wouldst have 

made my throne 
A seat for baseness. 

Imogen. No; I rather added 

A lustre to it. 

Cymbeline. O thou vile one ! 

Imogen, Sir, 

It is your fault that I have lov'd Posthumus ; 
You bred him as my playfellow, and he is 
A man worth any woman, overbuys me 
Almost the sum he pays. 

Cymbeline, What, art thou mad ? 

Imogen. Almost, sir ; heaven restore me ! Would 1 
were 
A neat-herd's daughter, and my Leonatus 
Our neighbour shepherd's son ! 

Cymbeline, Thou foolish thing! — 

Re-enter Queen 

The.y were again together : you have done 151 

Not after our command. Away with her 
And pen her up. 

Queen. Beseech your patience. — Peace, 

Dear lady daughter, peace ! — Sweet sovereign, 
Leave us to ourselves ; and make yourself some comfort 
Out of your best advice. 

Cymbeline, Nay, let her languish 



Scene I] Cymbeline 25 

A drop of blood a day, and, being aged. 
Die of this folly ! \_Exeunt Cymbeline and Lords. 

Queen, Fie ! you must give way. 

Enter Pisanio 

Here is your servant — How now, sir ! What news ? 

Pisanio. My lord your son drew on my master. 

Queen. Ha ! 

No harm, I trust, is done ? 

Pisanio. There might have been 

But that my master rather play'd than fought, 162 

And had no help of anger ; they were parted 
By gentlemen at hand. 

Queen. I am very glad on 't. 

Imogen. Your son 's my father's friend ; he takes his 
part. — 
To draw upon an exile ! — O brave sir ! — 
I would they were in Afric both together. 
Myself by with a needle, that I might prick 
The goer-back. — Why came you from your master ? 

Pisanio. On his command. He would not suffer 
me 170 

To bring him to the haven, left these notes 
Of what commands I should be subject to 
When 't pleas'd you to employ me. 

Queen, This hath been 

Your faithful servant ; I dare lay mine honour 
He will remain so. 

Pisafiio. I humbly thank your highness. 



26 Cymbeline [Act I 

Queen, Pray, walk awhile. 

Imogen, About some half-hour hence, 

I pray you, speak with me. You shall at least 
Go see my lord aboard ; for this time leave me. [^Exeunt 

Scene II. The Same, A Public Place 
Enter Cloten and two Lords 

1 Lord. Sir, I would advise you to shift a shirt ; 
the violence of action hath made you reek as a sacri- 
fice. Where air comes out, air comes in ; there 's 
none abroad so wholesome as that you vent. 

Cloten. If my shirt were bloody, then to shift it. 
Have I hurt him ? 

2 Lord, [Aside'] No, faith ; not so much as his pa- 
tience. 

1 Lord. Hurt him ! his body 's a passable carcass, 
if he be not hurt ; it is a throughfare for steel, if it be 
not hurt. n 

2 Lord. [Aside'] His steel was in debt ; it went 
o' the backside the town. 

Cloten. The villain would not stand me. 
2 Lord. [Aside] No ; but he fled forward still, 
toward your face. 

1 Lord. Stand you ! You have land enough of 
your own ; but he added to your having, gave you 
some ground. 

2 Lord. [Aside] As many inches as you have 
oceans. — Puppies 1 21 



Scene III] Cymbeiine I7 

Clofen. I would they had not come between us. 

2 Lord. [Aside] So would I, till you had measured 
how long a fool you were upon the ground. 

Cloteji, And that she should love this fellow and 
refuse me ! 

2 Lo7'd. [Aside] If it be a sin to make a true 
election, she is damned. 

1 Lord. Sir, as I told vou always, her beauty and 
her brain go not together; she 's a good sign, but I 
have seen small reflection of her wit. 31 

2 Lord. [Aside] She shines not upon fools, lest the 
reflection should hurt her. 

Clofen. Come, I '11 to my chamber. Would there 
had been some hurt done ! 

2 Lord, [Aside] I wish not so ; unless it had been 
the fall of an ass, which is no great hurt. 

Clote7i. You '11 go wath us ? 

1 Lord. I '11 attend your lordship. 

Cloten. Xay, come, let 's go together. 40 

2 Lord. Well, my lord. [Exeunt. 



Scene III. A Room in Cyniheline's Palace 

Enter Imogen and Pisanio 

Lmogen. I would thou grew'st unto the shores o' the 
haven, 
And question 'dst every sail ; if he should write 
And I not have it, 'tv/ere a paper lost 



28 Cymbeline [Act I 

As offer'd mercy is. What was the last 
That he spake to thee ? 

Pisanio, It was his queen, his queen ! 

I?noge?t, Then wav'd his handkerchief ? 

Pisanio, And kiss'd it, madam. 

Imogen. Senseless linen ! happier therein than I ! — 
And that was all ? 

Pisanio, No, madam ; for so long 

As he could make me with this eye or ear 
Distinguish him from others, he did keep lo 

The deck, with glove, or hat, or handkerchief. 
Still waving, as the fits and stirs of 's mind 
Could best express how slow his soul sail'd on. 
How swift his ship. 

Imogeji, Thou shouldst have made him 

As little as a crow, or less, ere left 
To after-eye him. 

Pisanio, Madam, so I did. 

Imoge?t. I would have broke mine eye-strings, crack'd 
them, but 
To look upon him till the diminution 
Of space had pointed him sharp as my needle. 
Nay, foUow'd him till he had melted from 20 

The smallness of a gnat to air, and then 
Have turn'd mine eye and wept. But, good Pisanio, 
When shall we hear from him ? 

Pisanio, Be assured, madam, 

With his next vantage. 

Imogen. I did not take my leave of him, but had 



Scene IV] Cymbeline 29 

Most pretty things to say. Ere I could tell him 

How I would think on him at certain hours 

Such thoughts and such, or I could make him swear 

The shes of Italy should not betray 

Mine interest and his honour, or have charged him, 30 

At the sixth hour of morn, at noon, at midnight. 

To encounter me with orisons, for then 

I am in heaven for him ; or ere I could 

Give him that parting kiss which I had set 

Betwixt two charming words, comes in my father 

And, like the tyrannous breathing of the north, 

Shakes all our buds from growing. 

Enter a Lady 

Lady. The queen, madam. 

Desires your highness' company. 

Imogen. Those things I bid you do, get them dis- 
patch 'd. — 
I will attend the queen. 

Madam, I shall. \Exeunt 

Scene IV. Rome. PhiIa7'io\s House 

Enter Philario, Iachimo, a Frenchman, a Dutchman, 

and a Spaniard 

Iachimo. Believe it, sir, I have seen him in 
Britain. He was then of a crescent note, expected 
to prove so worthy as since he hath been allowed 
the name of ; but I could then have looked on him 



JO Cymbeline [Act I 

without the help of admiration, though the catalogue 
of his endowments had been tabled by his side and 
I to peruse him by items. 

Fhi/ario. You speak of him when he was less 
furnished than now he is with that which makes 
him both without and within. lo 

F7'enchmaii. I have seen him in France ; we had 
very many there could behold the sun with as firm 
eyes as he. 

lacJwno, This matter of marrying his king's 
daughter, wherein he must be weighed rather by 
her value than his own, words him, I doubt not, a 
great deal from the matter. 

Frenchman. And then his banishment — i8 

Iachi?7io. Ay, and the approbation of those that 
weep this lamentable divorce under her colours are 
wonderfully to extend him ; be it but to fortify her 
judgment, which else an easy battery might lay fiat, 
for taking a beggar without less quality. But how 
comes it he is to sojourn with you ? How creeps 
acquaintance ? 

Philario. His father and I were soldiers together, 
to whom I have been often bound for no less than 
my life. — Here comes the Briton ; let him be so 
entertained amongst you as suits, with gentlemen of 
your knowing, to a stranger of his quality. — 30 

Filter PosTHUMUS 

I beseech you all, be better known to this gentleman, 



Scene IV] Cymbeline 31 

whom I commend to you as a noble friend of mine ; 
how worthy he is I will leave to appear hereafter 
rather than story him in his own hearing. 

Frenchmaii, Sir, we have known together in 
Orleans. 

PostJmmiis. Since when I have been debtor to 
you for courtesies which I will be ever to pay and 
yet pay still. 39 

Frenchman. Sir, you o'errate my poor kindness. 
I was glad I did atone my countryman and you ; it 
had been pity you should have been put together 
with so mortal a purpose as then each bore, upon 
importance of so slight and trivial a nature. 

Fosthtcmus. By your pardon, sir, I was then a 
young traveller, rather shunned to go even with 
what I heard than in my every action to be guided 
by others' experiences ; but tlpon my mended judg- 
ment — if I offend not to say it is mended — my 
quarrel was not altogether slight. 5c 

Frenchman. Faith, yes, to be put to the arbitre- 
ment of swords, and by such two that would by all 
likelihood have confounded one the other or have 
fallen both. 

lachimo. Can we, with manners, ask what was the 
difference ? 

Frenchma7i. Safely, I think. 'T was a contention 
in public, which may, without contradiction, suffer 
the report. It was much like an argument that fell 
out last night, where each of us fell in praise of our 60 



32 Cymbeline [Act I 

country mistresses ; this gentleman at that time 
vouching — and upon warrant of bloody affirmation 
— his to be more fair, virtuous, wise, chaste, con- 
stant-qualified, and less attemptable than any the 
rarest of our ladies in France. 

Iachi77io. That lady is not now living, or this gen- 
tleman's opinion by this worn out. 

Posthimitcs, She holds her virtue still, and I my 
mind. 

lachimo. You must not so far prefer her fore ours 
of Italy. 71 

Posthumus, Being so far provoked as I was in 
France, I would abate her nothing, though I profess 
myself her adorer, not her friend. 

Iachi77io, As fair and as good — a kind of hand- 
in-hand comparison — had been something too fair 
and too good for any lady in Britain. If she went 
before others I have seen as that diamond of yours 
outlustres many I have beheld, I could not but 
believe she excelled many ; but I have not seen 
the most precious diamond that is, nor you the 
lady. 82 

Posthiwius. I praised her as I rated her ; so do I 
my stone. 

Iachi77io, What do you esteem it at ? 

Posth2C77ius. More than the world enjoys. 

Iachi77io, Either your unparagoned mistress is 
dead, or she 's outprized by a trifle. 

Posthu77ius, You are mistaken. The one may 



Scene IV] Cymbeliiie 23 

be sold, CH" given, if there were wealth enough for 
the purchase, or merit for the gift ; the other is 
not a thing for sale, and only the gift of the 
gods. 93 

lachimo. Which the gods have given you ? 

Posthtimus, Which, by their graces, I will keep. 

lachimo. You may wear her in title yours ; but, 
you know, strange fowl light upon neighbouring 
ponds. Your ring may be stolen too. So your 
brace of unprizable estimations, the one is but frail 
and the other casual ; a cunning thief, or a that 
way accomplished courtier, would hazard the win- 
ning both of first and last. 102 

Posthiiinus. Your Italy contains none so accom- 
plished a courtier to convince the honour of my 
mistress, if, in the holding or loss of that, you term 
her frail. I do nothing doubt you have store of 
thieves ; notwithstanding, I fear not my ring. 

Philario. Let us leave here, gentlemen. 

PostMimus. Sir, with all my heart. This worthy 
signior, I thank him, makes no stranger of me; 
we are familiar at first. m 

IachtJ?io. With five times so much, conversation, I 
should get ground of your fair mistress, make her 
go back, even to the yielding, had I admittance 
and opportunity to friend. 

Posthumus. No, no. 

lachimo. I dare thereupon pawn the moiety of my 
estate to your ring, which, in my opinion, o'ervalues 

CYMBELINE — 3 



34 Cymbeline [Act I 

it something ; but I make my wager rather against 
your confidence than her reputation, and, to bar 
your offence herein too, I durst attempt it against 
any lady in the world. 122 

Posthumus, You are a great deal abused in too 
bold a persuasion ; and I doubt not you sustain 
what you 're worthy of by your attempt. 

lachimo. What 's that ? 

Posthumus, A repulse ; though your attempt, as 
you call it, deserve more, — a punishment too. 

Philario, Gentlemen, enough of this. It came in 
too suddenly ; let it die as it was born, and, I pray 
you, be better acquainted. 131 

lachuno. Would I had put my estate and my 
neighbour's on the approbation of w^hat I have 
spoke ! 

Posthumus. What lady would you choose to assail ? 

Iachi7no. Yours, whom in constancy you think 
stands so safe. I will lay you ten thousand ducats 
to your ring, that, commend me to the court where 
your lady is, with no more advantage than the 
opportunity of a second conference, and I will bring 
from thence that honour of hers which you imagine 
so reserved. 142 

Posthumus, I will wage against your gold gold 
to it. My ring I hold dear as my finger ; 't is 
part of it. 

lachimo. You are afraid, and therein the wiser. 
If you buy ladies' flesh at a million a dram, you can- 



Scene IV] Cymbeline ^5 

not preserve it from tainting ; but I see you have 
some religion in you, — that you fear. 

Posthumiis, This is but a custom in your tongue ; 
you bear a graver purpose, I hope. 151 

lachiino. I am the master of my speeches and 
would undergo what 's spoken, I swear. 

Posthiumcs, Will you ? I shall but lend my dia- 
mond till you return. Let there be covenants drawn 
between 's. My mistress exceeds in goodness the 
hugeness of your unworthy thinking. I dare you to 
this match ; here 's my ring. 

Philario. I will have it no lay. 159 

lachimo. By the gods, it is one. — If I bring you 
no sufficient testimony that I have enjoyed the dear- 
est bodily part of your mistress, my ten thousand 
ducats are yours ; so is your diamond too. If I 
come off, and leave her in such honour as you have 
trust in, she your jewel, this your jewel, and my gold 
are yours ; provided I have your commendation for 
my more free entertainment. 167 

Posthtiimcs. I embrace these conditions ; let us 
have articles betwixt us. Only, thus far you shall 
answer : if you make your voyage upon her and give 
me directly to understand you have prevailed, I am 
no further your enemy, she is not worth our debate ; 
if she remain unseduced, you not making it appear 
otherwise, for your ill opinion and the assault you 
have made to her chastity you shall answer me with 
your sword. 



36 Cymbeline [Act I 

lachimo. Your hand ; a covenant. We will have 
these things set down by lawful counsel, and straight 
away for Britain, lest the bargain should catch cold 
and starve. I will fetch my gold and have our two 
wagers recorded. 181 

Posthicmus, Agreed. 

]^Exeunt Posthunius and lachimo, 

French7nan, Will this hold, think you ? 

Philario. Signior lachimo will not from it. Pray, 
let us follow 'em. \_Exeunt. 

Scene V. B 7-1 tain, A R00771 in Cymbeline' s Palace 
Enter Queen, Ladies, a7id Cornelius 

Queen. Whiles yet the dew 's on ground, gather those 
flowers ; 
Make haste. Who has the note of them ? 

I Lady. I, madam. 

Queen. Dispatch. — [^Exetmt Ladies. 

Now, master doctor, have you brought those drugs ? 

Cornelius. Pleaseth your highness, ay; here they 
are, madam. \^Prese7iting a S77iall box. 

But I beseech your grace, without offence, — 
My conscience bids me ask — wherefore you have 
Commanded of me these most poisonous compounds, 
Which are the movers of a languishing death. 
But though slow, deadly ? 

Queen. I wonder, doctor, 10 

Thou ask'st me such a question. Have I not been 



Scene V] Cymbeline 37 

Thy pupil long ? Hast thou not learned me how 

To make perfumes ? distil ? preserve ? yea, so 

That our great king himself doth woo me oft 

For my confections ? Having thus far proceeded, — 

Unless thou think'st me devilish, — is 't not meet 

That I did amplify my judgment in 

Other conclusions ? I will try the forces 

Of these thy compounds on such creatures as 

We count not worth the hanging, but none human, 20 

To try the vigour of them and apply 

Allayments to their act, and by them gather 

Their several virtues and effects. 

Coriielms. Your highness 

Shall from this practice but make hard your heart ; 
Besides, the seeing these eft'ects will be 
Both noisome and infectious. 

Queen, O, content thee. — 

Enter Pisaxio 

[AsiWe] Here comes a flattering rascal, upon him 
Will I first work ; he 's for his master, 
And enemy to my son. — How now, Pisanio ! — 
Doctor, your service for this time is ended ; 30 

Take your own way. 

Corne/ius. [AsiWe] I do suspect you, madam ; 
But you shall do no harm. 

Queen. \To Pisajiio\ Hark thee, a word. 

Cornelius, [Aside] I do not like her. She doth think 
she has 



3 8 Cymbeline [Act i 

Strange lingering poisons ; I do know her spirit, 

And will not trust one of her malice with 

A drug of such damn'd nature. Those she has 

Will stupefy and dull the sense awhile, 

Which first, perchance, she '11 prove on cats and dogs, 

Then afterward up higher ; but there is 

No danger in what show of death it makes, 40 

More than the locking-up the spirits a time. 

To be more fresh, reviving. She is fool'd 

With a most false effect ; and I the truer. 

So to be false with her. 

Queen, Xo further service, doctor, 

Until I send for thee. 

Coriielius. I humbly take my leave. \^Exit. 

Qiiee7i, Weeps she still, say'st thou? Dost thou 
think in time 
She will not quench and let instructions enter 
Where folly now possesses ? Do thou work. 
When thou shalt bring me word she loves my son, 
I '11 tell thee on the instant thou art then 50 

As great as is thy master, — greater, for 
His fortunes all lie speechless and his name 
Is at last gasp. Return he cannot, nor 
Continue where he is ; to shift his being 
Is to exchange one misery with another. 
And ever}^ day that comes comes to decay 
A day's work in him. What shalt thou expect, 
To be depender on a thing that leans. 
Who cannot be new built, nor has no friends, 



Scene V] Cymbeline 39 

So much as but to prop him ? \The Queen drops the box ; 
Pisanio takes it 2ip.~\ — Thou tak'st up 60 

Thou know'st not what ; but take it for thy labour. 
It is a thing I made which hath the king 
Five times redeem 'd from death ; I do not know 
What is more cordial. Nay, I prithee, take it ; 
It is an earnest of a further good 
That I mean to thee. Tell thy mistress how 
The case stands with her ; do 't as from, thyself. * 
Think what a chance thou changest on, but think 
Thou hast thy mistress still ; to boot, my son, 
Who shall take notice of thee. I '11 move the king 70 
To any shape of thy preferment such 
As thou 'It desire ; and then myself, I chiefly, 
That set thee on to this desert, am bound 
To load thy merit richly. Call my women. 
Think on my words. — [^Exit Pisanio. 

A sly and constant knave. 
Not to be shak'd ; the agent for his master, 
And the remembrancer of her to hold 
The hand-fast to her lord. I have given him that 
Which, if he take, shall quite unpeople her 
Of liegers for her sweet, and which she after, 80 

Except she bend her humour, shall be assur'd 
To taste of too. — 

Re-enter Pisanio and Ladies 

So, so ; well done, w^ell done. 
The violets, cowshps, and the primroses, 



40 Cymbeline [Act I 

Bear to my closet. — Fare thee well, Pisanio ; 

Think on my words. \Exeuni Queen and Ladies, 

Pisanio. And shall do : 

But when to my good lord I prove untrue, 
I '11 choke myself ; there 's all I '11 do for you. \Exit, 



Scene VI. The Sa7?ie, Another Rooin in the Palace 

Enter Imogen 

hnogen. A father cruel, and a step-dame false ; 
A foolish suitor to a wedded lady. 
That hath her husband banish'd. — O, that husband ! 
My supreme crown of grief ! and those repeated 
Vexations of it ! Had I been thief-stolen, 
As my two brothers, happy ! but most miserable 
Is the desire that 's glorious ; blest be those, 
How mean soe'er, that have their honest wills, 
Which seasons comfort. — Who may this be ? Fie ! 

Better Pisanio and Iachimo 

Pisanio. Madam, a noble gentleman of Rome, lo 

Comes from my lord with letters. 

Iachimo. Change you, madam ? 

The worthy Leonatus is in safety 
And greets your highness dearly. \_Presents a letter. 

Imogen. Thanks, good sir ; 

You 're kindly welcome. 

Iachimo. [Aside] All of her that is out of door most rich ! 
If she be furnish'd with a mind so rare, 



Scene VI] Cymbeline 41 

She is alone the Arabian bird, and I 

Have lost the wager. Boldness be my friend 1 

Arm me, audacity, from head to foot ! 

Or, like the Parthian, I shall flying fight, — 20 

Rather, directly fly. 

hiiogeji, [Reads] ' He is one of the noblest note, to 
whose kin dn esses I a f?i m os t infin itely tied. Reflect upo n 
him acco7'dingly, as yoic value your truest Leonatus.' 
So far I read aloud ; 
But even the very middle of my heart 
Is warm'd by the rest, and takes it thankfully. 
You are as welcome, worthy sir, as I 
Have words to bid you, and shall find it so 
In all that I can do. 

lachimo. Thanks, fairest lady. — • 30 

What, are men mad ? Hath nature given them eyes 
To see this vaulted arch and the rich crop 
Of sea and land, which can distinguish 'twixt 
The fiery orbs above and the twinn'd stones 
Upon the unnumber'd beach ? and can we not 
Partition make with spectacles so precious 
'Twixt fair and foul ? 

Imogen. What makes your admiration? 

lachijno. It cannot be i' the eye, for apes and monkeys 
'Twixt two such shes would chatter this way and 
Contemn with mows the other; nor i' the judgment, 40 
For idiots in this case of favour would 
Be wisely definite ; nor i' the appetite ; 
Sluttery to such neat excellence oppos'd 



42 Cymbeline [Act I 

Should make desire vomit emptiness, 
Not so allur'd to feed. 

Imogen, What is the matter, trow ? 

lachimo. The cloyed will, 

That satiate yet unsatisfied desire, that tub 
Both fill'd and running, ravening first the lamb. 
Longs after for the garbage. 

Imogen. What, dear sir, 

Thus raps you ? Are you well ? 50 

lachimo. Thanks, madam; well. — \^To Pisafiio'] Be- 
seech you, sir, desire 
My man's abode where I did leave him ; he 
Is strange and peevish. 

Pisaiiio. I was going, sir, 

To give him welcome. \_Exit. 

Imogen. Continues ^vell my lord ? His health, be- 
seech you ? 

Iachh?io. Well, madam. 

Imogen. Is he dispos'd to mirth? I hope he is. 

lachimo. Exceeding pleasant, none a stranger there 
So merry and so gamesome ; he is call'd 
The Briton reveller. 

hfiogen. When he was here 60 

He did incline to sadness, and oft-times 
Not knowing why. 

lachiino, I never saw him sad. 

There is a Frenchman his companion, one 
An eminent monsieur, that, it seems, much loves 
A Gallian girl at home ; he furnaces 



Scene VI] Cymbeline 43 

The thick sighs from him, whiles the jolly Briton — 

Your lord, I mean — laughs from 's free lungs, cries ^ O, 

Can my sides hold, to think that man, who knows 

By history, report, or his own proof, 

What woman is, yea, what she cannot choose ;o 

But must be, will his free hours languish for 

Assured bondage ? ' 

' Imogen, Will my lord say so ? 

Iachi7?w. Ay, madam, with his eyes in flood with 
laughter ; 
It is a recreation to be by 

And hear him mock the Frenchman. But, heavens know. 
Some men are much to blame. 

I?noge?i. Not he, I hope. 

lacJmno. Not he ; but yet heaven's bounty towards 
him might 
Be us'd more thankfully. In himself, 't is much ; 
In you, which I account his beyond all talents, 
Whilst I am bound to wonder, I am bound 80 

To pit}^ too. 

hnoge^i. What do you pity, sir ? 

lachimo. Two creatures heartily. 

Imogen. Am I one, sir ? 

You look on me ; w^hat wrack discern vou in me 
Deserves your pit}' ? 

lachwio. Lamentable ! What ! 

To hide me from the radiant sun, and solace 
I' the dungeon by a snuff ? 

l77iogen, I pray you, sir, 



44 ' Cymbeline [Act I 

Deliver with more openness your answers 
To my demands. Why do you pity me ? 

lachtmo. That others do — 

I was about to say — enjoy your But 90 

It is an office of the gods to venge it, 
Not mine to speak on 't. 

Imogeii. You do seem to know 

Something of me, or what concerns me. Pray 3^ou, — 
Since doubting things go ill often hurts more 
Than to be sure they do, for certainties 
Either are past remedies, or, timely knowing, 
The remedy then born, — discover to me 
What both you spur and stop. 

lachimo. Had I this cheek 

To bathe my lips upon ; this hand, whose touch. 
Whose every touch, would force the feeler's soul 100 
To the oath of loyalty ; this object, which 
Takes prisoner the wild motion of mine eye. 
Fixing it only here ; should I, damn'd 'then, 
Slaver with lips as common as the stairs 
That mount the Capitol, join gripes with hands 
Made hard with hourly falsehood — falsehood, as 
With labour, then by-peeping in an eye 
Base and unlustrous as the smoky light 
That 's fed with stinking tallow, — it were fit 
That all the plagues of hell should at one time no 

Encounter such revolt. 

Imogen, My lord, I fear, 

Has forgot Britain. 



Scene VI] Cymbeline 45 

lachimo. And himself. Not I, 

Inclin'd to this intelligence, pronounce 
The beggary of his change ; but 't is your graces 
That from my mutest conscience to my tongue 
Charms this report out. 

Imogen. Let me hear no more. 

lachimo. O dearest soul ! your cause doth strike my 
heart 
With pity that doth make me sick. A lady 
So fair, and, fasten 'd to an emper}% 
Would make the great'st king double, — to be part- 
ner'd 120 

With tomboys hir'd with that self exhibition 
Which your own coffers yield ! with diseas'd ventures 
That play with all infirmities for gold 
Which rottenness can lend nature ! such boil'd stuff 
As wxll might poison poison ! Be reveng'd ; 
Or she that bore you was no queen, and you 
Recoil from your great stock. 

Iiiiogen. Reveng'd ! 

How should I be reveng'd ? If this be true, — 
As I have such a heart that both mine ears 
Must not in haste abuse, — if it be true, 130 

How should I be reveng'd ? 

lachimo. Should he make me 

Live, like Diana's priest, betwixt cold sheets, 
Whiles he is vaulting variable ramps. 
In your despite, upon your purse ? Revenge it. 
I dedicate myself to your sweet pleasure, 



46 Cymbeline [Act i 

More noble than that runagate to your bed, 
And will continue fast to your affection, 
Still close as sure. 

Lnogen. What ho, Pisanio ! 

lachimo. Let me my service tender on your lips. 

Lnogen, Away ! I do condemn mine ears that have 
So long attended thee. If thou wert honourable, 141 
Thou wouldst have told this tale for virtue, not 
For such an end thou seek'st, — as base as strange. 
Thou wrong'st a gentleman who is as far 
From thy report as thou from honour, and 
Solicit'st here a lady that disdains 
Thee and the devil alike. — What ho, Pisanio ! — 
The king my father shall be made acquainted 
Of thy assault ; if he shall think it fit, 
A saucy stranger in his court to mart 150 

As in a Romish stew and to expound 
His beastly mind to us, he hath a court 
He little cares for and a daughter who 
He not respects at all. — What ho, Pisanio ! 

lachimo. O happy Leonatus ! I may say ; 
The credit that thy lady hath of thee 
Deserves thy trust, and thy most perfect goodness 
Her assured credit. — Blessed live you long 1 
A lady to the worthiest sir that ever 
Countr}^ call'd his ! and you his mistress, only 160 

For the most worthiest fit ! Give me your pardon. 
I have spoke this, to know if your affiance 
Were deeply rooted, and shall make your lord, 



Scene VI] Cymbeline 47 

That which he is, new o'er ; and he is one 
The truest manner'd, such a holy witch 
That he enchants societies into him, 
Half all men's hearts are his. 

Lnogen. You make amends. 

lachirno. He sits 'mongst men like a descended 
god; 
He hath a kind of honour sets him off 
More than a mortal seeming. Be not angry, 170 

Most mighty princess, that I have adventur'd 
To try your taking of a false report, which hath 
Honour 'd with confirmation your great judgment 
In the election of a sir so rare 

Which you know cannot err. The love I bear him 
Made me to fan you thus, but the gods made you. 
Unlike all others, chaffless. Pray, your pardon. 

hnogen. All 's well, sir. Take my power i' the court 
for yours. 

lachimo. My humble thanks. I had almost forgot 
To entreat your grace but in a small request, iSo 

And yet of moment too, for it concerns 
Your lord ; myself and other noble friends 
Are partners in the business. 

hnogen. Pray, what is 't ? 

lacJmno. Some dozen Romans of us and your lord — 
The best feather of our wing — have mingled sums 
To buy a present for the emperor. 
Which I, the factor for the rest, have done 
In France. 'T is plate of rare device, and jewels 



48 Cymbeline [Act I 

Of rich and exquisite form, their values great ; 
And I am something curious, being strange, 190 

To have them in safe stowage. May it please you 
To take them in protection ? 

Imogen. Willingly, 

And pawn mine honour for their safety ; since 
My lord hath interest in them, I will keep them 
In my bedchamber. 

lachitno. They are in a trunk, 

Attended by my men. I will make bold 
To send them to you, only for this night ; 
I must aboard to-morrow. 

Imogen. O, no, no. 

lachimo. Yes, I beseech ; or I shall short my w^ord 
By lengthening my return. From Gallia 200 

I cross 'd the seas on purpose and on promise 
To see your grace. 

Imogen. I thank you for your pains ; 

But not away to-morrow ! 

lachimo. O, I must, madam. 

Therefore I shall beseech you, if you please 
To greet your lord wath wTiting, do 't to-night ; 
I have outstood my time, which is material 
To the tender of our present. 

Imogen. I will write. 

Send your trunk to me ; it shall safe be kept, 
And truly yielded you. You 're very w^elcome. 

\_Exeunt 




" Hark ! Hark ! the Lark ! 



ACT II 

Scene I. BjHtain, Befoi^e Cy??ibe line's Palace 

Enter Cloten a^id two Lords 

C to ten. Was there ever man had such luck ! when 
I kissed the jack, upon an up-cast to be hit away ! I 
had a hundred pound on 't ; and then a whoreson 
jackanapes must take me up for swearing, as if I 
borrowed mine oaths of him and might not spend 
them at my pleasure. 

1 Lo7'd. What got he by that ? You have broke 
his pate with your bowl. 

2 Lord. \_Aside'] If his wit had been like him that 
broke it, it would have run all out. 

CYMBEUNE — 4 49 



10 



50 Cymbeline [Act il 

Cloten, When a gentleman is disposed to swear, it 
is not for any standers-by to curtail his oaths, ha ? 

2 Lord, No, my lord ; [Aside] nor crop the ears of 
them. 

Cloten, Whoreson dog ! I give him satisfaction ? 
Would he had been one of my rank ! 

2 Lord, [Aside] To have smelt like a fool. 

Cloten, I am not vexed more at any thing in the 
earth. A pox on 't ! I had rather not be so noble 
as I am ; they dare not fight with me because of the 
queen my mother. Every Jack-slave hath his belly- 
ful of fighting, and I must go up and down like a 
cock that nobody can match. 23 

2 Lord, [Aside] You are cock and capon too ; and 
you crow, cock, with your comb on. 

Cloten, Sayest thou ? 

2 Lord, It is not fit your lordship should under- 
take every companion that you give offence to. 

Cloten. No, I know that ; but it is fit I should 
commit offence to my inferiors. 30 

2 Lord, Ay, it is fit for your lordship only. 

Cloten, Why, so I say. 

1 Lord. Did you hear of a stranger that 's come to 
court to-night ? 

Cloten. A stranger, and I not know^ on 't ! 

2 Lord. [^Aside] He 's a strange fellow himself, and 
knows it not. 

I Lord. There 's an Italian come ; and, 't is thought, 
one of Leonatus' friends. 39 



Scene I] Cymbeline 51 

Cloteji, Leonatus ! a banished rascal ; and he 's 
another, whatsoever he be. Who told you of this 
stranger ? 

1 Lord, One of your lordship's pages. 

Cloten, Is it fit I went to look upon him ? is 
there no derogation in 't ? 

2 Lord. You cannot derogate, my lord. 
Cloten, Not easily, I think. 

2 Loi'd \^Aside\ You are a fool granted ; therefore 
your issues, being foolish, do not derogate. 49 

Cloten. Come, I '11 go see this Italian. What I 
have lost to-day at bowls I '11 win to-night of him. 
Come, go. 

2 Lord. I '11 attend your lordship. — 

\Exeiint Cloten and i Lord, 
That such a crafty devil as is his mother 
Should yield the world this ass ! a woman that 
Bears all down with her brain ; and this her son 
Cannot take two from twenty, for his heart, 
And leave eighteen. Alas, poor princess, 
Thou divine Imogen, what thou endur'st. 
Betwixt a father by thy step-dame govern'd, 60 

A mother hourly coining plots, a wooer 
More hateful than the foul expulsion is 
Of thy dear husband, than that horrid act 
Of the divorce he 'd make ! The heavens hold firm 
The walls of thy dear honour, keep unshak'd 
That temple, thy fair mind, that thou mayst stand. 
To enjoy thy banish 'd lord and this great land I \_Exit, 



52 Cymbeline [Act II 

Scene II. I?noge?i's Bedchamber; a trinik in one corner 

of it. 

Imogen /;/ bed, reading ; a Lady attending 

Lnogen. Who 's there ? my woman Helen ? 

Lady. Please you, madam. 

Imoge7i, What hour is it ? 

Lady. Almost midnight, madam. 

Linogen. I have read three hours then. Mine eyes 
are weak. 
Fold down the leaf where I have left ; to bed. 
Take not away the taper, leave it burning ; 
And if thou canst awake by four o' the clock, 
I prithee, call me. Sleep hath seiz'd me wholly. — 

\_Exit Lady. 
To your protection I commend me, gods ! 
From fairies and the tempters of the night 
Guard me, beseech ye ! lo 

[Sleeps. Lachimo comes from the trunk. 

lachimo. The crickets sing, and man's o'erlabour'd 
sense 
Repairs itself by rest. Our Tarquin thus 
Did softly press the rushes ere he waken 'd 
The chastity he wounded. — Cytherea, 
How bravely thou becom'st thy bed, fresh lily. 
And whiter than the sheets ! That I might touch ! 
But kiss ; one kiss ! — Rubies unparagon'd. 
How dearly they do 't ! — 'T is her breathing that 
Perfumes the chamber thus ; the flame o' the taper 



Scene II] Cymbeline 5J 

Bows toward her and would under-peep her lids, 20 

To see the enclosed lights, now canopied 

Under these windows, white and azure, lac'd 

With blue of heaven's own tinct. — But my design. 

To note the chamber. I will write all down : 

Such and such pictures ; there the window ; such 

The adornment of her bed ; the arras-figures, 

Why, such and such ; and the contents o' the story. 

Ah, but some natural notes about her body 

Above ten thousand meaner movables 

Would testify, to enrich mine inventory. — 30 

O sleep, thou ape of death, lie dull upon her ! 

And be her sense but as a monument. 

Thus in a chapel lying ! — Come off, come off ; — 

\_Taking off he 7- bi'acelet. 
As slippery as the Gordian'knot was hard ! — 
'T is mine ; and this will witness outwardly. 
As strongly as the conscience does within. 
To the madding of her lord. — On her left breast 
A mole cinque-spotted, like the crimson drops 
I' the bottom of a cowslip. Here 's a voucher 
Stronger than ever law could make ; this secret 40 

Will force him think I have pick'd the lock and ta'en 
The treasure of her honour. No more. To what end ? 
Why should I wTite this down that 's riveted, 
Screw'd to my memory ? She hath been reading late 
The tale of Tereus ; here the leaf 's turn'd down 
Where Philomel gave up. — I have enough ; 
To the trunk again and shut the spring of it. — 



^4 Cymbeline [Act ll 

Swift, swift, you dragons of the night, that dawning 
May bare the raven's eye ! I lodge in fear ; 
Though this a heavenly angel, hell is here. 50 

[ Clock strikes. 
One, two, three ; — time, time ! 

\_Goes into the t?'iink. The scene closes. 

Scene III. An Ante-chamber adjoining Imogen's Apart- 
ments 

Enter Cloten and Lords 

I Lord. Your lordship is the most patient man in 
loss, the most coldest that ever turned up ace. 

Cloten. It would make any man cold to lose. 

I Lord. But not every man patient after the noble 
temper of your lordship. You are most hot and furi- 
ous when you win. 

Cloten. Winning will put any man into courage. 
If I could get this foolish Imogen, I should have 
gold enough. It 's almost morning, is 't not ? 

I Lord. Day, my lord. 10 

Cloten. I would this music would come. I am 
advised to give her music o' mornings ; they say it 
will penetrate. — 

Enter Musicians 

Come on ; tune. If you can penetrate her with your 
fingering, so ; we '11 tiy with tongue too. If none 
will do, let her remain ; but I '11 never give o'er. 
First, a very excellent good-conceited thing ; after, a 



Scene III] Cymbeline 55 

wonderful sweet air, with admirable rich words to it ; 
— and then let her consider. 

Song 

Hark, hark ! the lark at heaven's gate sings, 20 

And Phoebus gins arise, 
His steeds to water at those springs 

On chalic' d flowers that lies ; 
And winking Mary-buds begin 
To ope their golden eyes ; 

With every thing that pretty is, 
My lady sweet, arise ; 
Arise, arise I 

Cloten. So, get you gone. If this penetrate, I will 
consider your music the better ; if it do not, it is a 
vice in her ears which horse-hairs and calves '-guts, 
nor the voice of eunuch to boot, can never amend. 

\_Exeunt Musicians . 
2 Lord. Here comes the king. ^-^ 

Cloten. I am glad I was up so late, for that 's the 
reason I was up so early ; he cannot choose but take 
this service I have done fatherly. — 

Enter Cymbeline and Queen 

Good morrow to your majesty and to my gracious 

mother. 
Cymbeline. Attend you here the door of our stern 

daughter ? 
Will she not forth ? 39 



56 Cymbeline [Act il 

Cloten. I have assailed her with music, but she 
vouchsafes no notice. 

Cymbeline. The exile of her minion is too new, 
She hath not yet forgot him ; some more time 
Must wear the print of his remembrance out. 
And then she 's yours. 

Queen, You are most bound to the king, 

Who lets go by no vantages that may 
Prefer you to his daughter. Frame yourself 
To orderly solicits, and be friended 
With aptness of the season ; make denials 
Increase your services ; so seem as if 50 

You were inspir'd to do those duties which 
You tender to her ; that you in all obey her, 
Save when command to your dismission tends. 
And therein you are senseless. 

Cloten, Senseless ! not so. 

Ente7^ a Messenger 

Messenger. So like you, sir, ambassadors from Rome ; 
The one is Caius Lucius. 

Cymbeline, A worthy fellow. 

Albeit he comes on angry purpose now ; 
But that 's no fault of his. We must receive him 
According to the honour of his sender ; 
And towards himself, his goodness forespent on us, 60 
We must extend our notice. — Our dear son. 
When you have given good morning to your mistress, 
Attend the queen and us ; wc shall have need 



Scene III] Cymbellne 57 

To employ you towards this Roman. — Come, our 
queen. S^Exeiuit all but Cloten, 

Clofen, If she be up, I '11 speak with her ; if not, 
Let her lie still and dream. — \K7iocks?\^ By your 

leave, ho ! — 
I know her women are about her ; what 
If I do line one of their hands ? 'T is gold 
Which buys admittance ; oft it doth, yea, and makes 
Diana's rangers false themselves, yield up 70 

Their deer to the stand o' the stealer ; and 't is gold 
Which makes the true man kill'd and saves the thief, 
Nay, sometime hangs both thief and true man ; 

what 
Can it not do and undo ? I will make 
One of her w^omen lawyer to me, for 
I yet not understand the case myself. — 
\_Knocks?\ By your leave. 

Enter a Lady 

Lady. Who 's there that knocks ? 

Cloten. A gentleman. 

Lady. No more ? 

Cloten. Yes, and a gentlewoman's son. 

Lady. That 's more 

Than some whose tailors are as dear as yours 80 

Can justly boast of. What 's your lordship's pleasure ? 

Clotefi. Your lady's person ; is she ready ? 

Lady. Ay, 

To keep her chamber. 



58 Cymbeline [Act ll 

Cloten, There is gold for you ; 

Sell me your good report. 

Lady, How ! my good name ? or to report of you 
What I shall think is good ? — The princess ! 

Enter Imogen 

Cloten. Good morrow, fairest ; sister, your sweet 
hand. \Exit Lady. 

Lmogen. Good morrow, sir. You lay out too much 
pains 
For purchasing but trouble ; the thanks I give 
Is telling you that I am poor of thanks 90 

And scarce can spare them. 

Cloten, Still, I swear I love you. 

Lmogen. If you but said so, 't were as deep with me ; 
If you swear still, your recompense is still 
That I regard it not. 

Cloten. This is no answer. 

Lmogen. But that you shall not say I yield being 
silent, 
I would not speak. I pray you, spare me ; faith, 
I shall unfold equal discourtesy 
To your best kindness. One of your great knowing 
Should learn, being taught, forbearance. 

Cloten. To leave you in your madness, 't were my sin ; 
I will not. loi 

Lmogen. Fools are not mad folks. 

Cloten. Do you call me fool ? 

Lmogen. As I am mad, I do. 



Scene III] Cymbeline 59 

If you '11 be patient, I '11 no more be mad ; 

That cures us both. I am much sorry, sir, 

You put me to forget a lady's manners 

By being so verbal ; and learn now, for all, 

That I, which know my heart, do here pronounce, 

By the very truth of it, I care not for you, 

xVnd am so near the lack of charity — no 

To accuse myself — I hate you, which I had rather 

You felt than make 't my boast. 

Cloten. You sin against 

Obedience, which you owe your father. For 
The contract you pretend with that base wretch, 
One bred of alms and foster'd with cold dishes, 
With scraps o' the court, it is no contract, none ; 
And though it be allow'd in meaner parties — 
Yet who than he more mean ? — to knit their souls. 
On whom there is no more dependency 
But brats and beggary, in self-figur'd knot, 120 

Yet you are curb'd from that enlargement by 
The consequence o' the crown, and must not soil 
The precious note of it wath a base slave, 
A hilding for a livery, a squire's cloth, 
A pantler, not so eminent. 

hnogeii. Profane fellow ! 

Wert thou the son of Jupiter and no more 
But what thou art besides, thou wert too base 
To be his groom ; thou wert dignified enough, 
Even to the point of envy, if 't were made 
Comparative for your virtues, to be styPd 130 



6o Cymbeline [Act il 

The under-hangman of his kingdom, and hated 
For being preferr'd so well. 

Cloten. The south-fog rot him ! 

Imogen. He never can meet more mischance than come 
To be but nam'd of thee. His meanest garment, 
That ever hath but clipp'd his body, is dearer 
In my respect than all the hairs above thee, 
Were they all made such men. — How now, Pisanio ! 

Enter- Pisanio 

Cloten. His garment! Now the devil — 

Imogen, To Dorothy my woman hie thee presently — 

Cloten, His garment ! 

Imogen. I am sprited with a fool, 

Frighted, and anger'd worse. — Go bid my woman 141 
Search for a jewel that too casually 
Hath left mine arm. It was thy master's ; 'shrew me 
If I would lose it for a revenue 
Of any king's in Europe. I do think 
I saw 't this morning. Confident I am 
Last night 't was on mine arm ; I kiss'd it. 
I hope it be not gone to tell my lord 
That I kiss aught but he. 

Pisanio. 'T will not be lost. 

Imogen. I hope so ; go and search. \_Exit Pisanio. 

Cloten. You have abus'd me. — 

His meanest garment! 

Imogen. Ay, I said so, sir ; 151 

If you will make 't an action, call witness to 't. 



Scene IV] Cymbeline 6 1 

Cloten. I will inform your father. 

Imogen. . Your mother too ; 

She 's my good lady, and Avill conceive, I hope, 
But the worst of me. So, I leave you, sir, 
To the worst of discontent. S^Exit. 

Cloten. I '11 be reveng'd ! 

His meanest garment ! — Well. \_Exit. 



Scene IV. Rome. Fhilario^s House 
Enter Posthumus and Philario 

Posthinnus. Fear it not, sir ; I would I were so sure 
To win the king as I am bold her honour 
Will remain hers. 

Philario, What means do you make to him ? 

PosthiC77ins. Not any, but abide the change of time. 
Quake in the present winter's state and wish 
That warmer days would come. In these fear'd 

hopes, 
I barely gratify your love ; they failing, 
I must die much your debtor. 

Philario. Your very goodness and your company 
O'erpays all I can do. By this, your king lo 

Hath heard of great Augustus. Caius Lucius 
Will do 's commission throughly ; and I think 
He '11 grant the tribute, send the arrearages. 
Or look upon our Romans, whose remembrance 
Is yet fresh in their grief. 



62 Cymbeline [Act ii 

Posthmnus. I do believe, 

Statist though I am none, nor Uke to be, 
That this will prove a war ; and you shall hear 
The legions now in Gallia sooner landed 
In our not-fearing Britain than have tidings 
Of any penny tribute paid. Our countrymen 20 

Are men more order'd than when Julius Caesar 
Smil'd at their lack of skill, but found their courage 
Worthy his frowning at ; their discipline, 
Now^ mingled with their courages, will make known 
To their approvers they are people such 
That mend upon the world. 

Enter Iachimo 

Philario, See ! Iachimo ! 

Posthunius. The swiftest harts have posted you by 
land, 
And winds of all the corners kiss'd your sails. 
To make your vessel nimble. 

Philario. Welcome, sir. 

Posthumus. I hope the briefness of your answer 
made 30 

The speediness of your return. 

Iachimo. Your lady 

Is one of the fairest that I have look'd upon. 

Posthumus. And therewithal the best ; or let her 
beauty 
Look through a casement to allure false hearts 
And be false with them. 



Kb' 



Scene IV] Cymbeline 63 

lachimo. Here are letters for you. 

Fosthumiis. Their tenor good, I trust. 

lachimo, 'T is very like. 

Philario, Was Caius Lucius in the Britain court 
When you were there ? 

lachimo. He was expected then, 

But not approach'd. 

Posthumiis. All is w^ell yet. — 

Sparkles this stone as it was wont ? or is 't not 40 

Too dull for your good w^earing ? 

lachimo. If I had lost it, 

I should have lost the worth of it in gold. 
I '11 make a journey twice as far, to enjoy 
A second night of such sweet shortness w^hich 
Was mine in Britain, for the ring is w^on. 

Posthumus. The stone 's too hard to come by. 

lachiino. Not a whit, 

Your lady being so easy. 

Posthumus. Make not, sir. 

Your loss your sport ; I hope you know^ that we 
Must not continue friends. 

lachimo. Good sir, we must, 

If you keep covenant. Had I not brought 50 

The knowledge of your mistress home, I grant 
We were to question further ; but I now 
Profess myself the winner of her honour, 
Together with your ring, and not the wTonger 
Of her or you, having proceeded but 
By both your wills. 



64 Cymbeline [Act il 

PosthuDius. If you can make 't apparent 

That you have tasted her in bed, my hand 
And ring is yours ; if not, the foul opinion 
You had of her pure honour gains or loses 
Your sword or mine, or masterless leaves both 60 

To who shall find them. 

lachiiJio, Sir, my circumstances, 

Being so near the truth as I will make them, 
Must first induce you to believe ; whose strength 
I will confirm with oath, which, I doubt not, 
You '11 give me leave to spare when you shall find 
You need it not. *^ 

Posthtnniis, Proceed. 

lachimo. First, her bedchamber, — 

Where, I confess, I slept not, but profess 
Had that was well worth watching — it was hang'd 
With tapestry of silk and silver ; the story 
Proud Cleopatra, when she met her Roman 70 

And Cydnus swell'd above the banks, or for 
The press of boats or pride ; a piece of work 
So bravely done, so rich, that it did strive 
In workmanship and value, which I wonder'd 
Could be so rarely and exactly wrought, 
Since the true life on 't was — 

Posthtivuis. This is true ; 

And this you might have heard of here, by me, 
Or by some other. 

lachiino. More particulars 

Must justify my knowledge. 



Scene IV] 



Cymbeline 



65 



Posthumus. So they must, 

Or do your honour injury. 

lachijHo. The chimney 80 

Is south the chamber, and the chimney-piece 
Chaste Dian bathing. Never saw I figures 
So Hkely to report themselves ; the cutter 
Was as another nature, dumb, — outwent her, 
Motion and breath left out. 

Posthumus. This is a thing 

Which you might from relation likewise reap, 
Being, as it is„much spoke of. 

lachimo. The roof o' the chamber 

With golden cherubins is fretted ; her andirons — 
I had forgot them — were two winking Cupids 
Of silver, each on one foot standing, nicely 90 

Depending on their brands. 

Posthumus, This is her honour ! 

Let it be granted you have seen all this — and praise 
Be given to your remembrance — the description 
Of what is in her chamber nothing saves 
The wager you have laid. 

Iachi7?io, Then, if you can, 

[Showing the bracelet. 
Be pale. I beg but leave to air this jewel ; see ! — 
And now 't is up again. It must be married 
To that your diamond ; I '11 keep them. 

Posthu77ius. Jove ! — 

Once more let me behold it ; is it that 
Which I left with her ? 

CYMBELINE — 5 



66 Cymbeline [Act li 

lachirno. Sir — I thank her — that. loo « 

She stripp'd it from her arm. I see her yet ; 
Her pretty action did outsell her gift, 
And yet enrich'd it too. She gave it me, and said 
She priz'd it once. 

Posthiimiis. May be she pluck'd it off 

To send it me. 

lachwio. She writes so to you, doth she ? 

Posthui7iiis. O, no, no, no ! 't is true. Here, take this 
too ; [ Gives the ring. 

It is a basilisk unto mine eye. 
Kills me to look on 't. — Let there be no honour 
Where there is beauty, truth where semblance, love 
Where there 's another man ; the vows of women no 
Of no more bondage be, to where they are made, 
Than they are to their virtues, which is nothing. — 
O, above measure false ! 

Fhilario. Have patience, sir, 

And take your ring again ; 't is not yet won. 
It may be probable she lost it ; or 
Who knows if one of her women, being corrupted, 
Hath stolen it from her ? 

Posthumus. Very true ; 

And so, I hope, he came by 't. — Back my ring. — 
Render to me some corporal sign about her. 
More evident than this ; for this was stolen. 120 

lachimo. By Jupiter, I had it from her arm. 

Posihiu?iiis. Hark you, he swears ; by Jupiter he 
swears. 



Scene IV] Cymbeline 67 

'T is true ; — nay, keep the ring — 't is true. I am sure 

She would not lose it ; her attendants are 

All sworn and honourable. — They induc'd to steal it ! 

And by a stranger ! — No, he hath enjoy'd her. 

The cognizance of her incontinency 

Is this ; she hath bought the name of whore thus 

dearly. — 
There, take thy hire, and all the fiends of hell 
Divide themselves between you ! 

Philario. Sir, be patient ; 130 

This is not strong enough to be believ'd 
Of one persuaded well of — 

lachimo. If you seek 

For further satisfying, under her breast — 
Worthy the pressing — lies a mole, right proud 
Of that most delicate lodging ; by my life, 
I kiss'd it, and it gave me present hunger 
To feed again, though full. You do remember 
This stain upon her ? 

Posthiinms. Ay, and it doth confirm 

Another stain, as big as hell can hold, 
Were there no more but it. 

lachwio. Will you hear more ? 140 

PostJmmus. Spare your arithmetic ; never count the 
turns, — 
Once, and a million ! 

lachimo. I '11 be sworn — 

PostJwmtcs. No swearing. 

If you ^yill swear you have not done 't, you lie ; 



68 Cymbeline [Act ii 

And I will kill thee if thou dost deny 
Thou 'st made me cuckold. 

Jachimo, I '11 deny nothing. 

Posthumus. O, that I had her here, to tear her hmb- 
meal 1 
I will go there and do 't, i' the court, before 
Her father. I '11 do something — [Ext^. 

Philario, Q^ite besides 

The government of patience ! You have won. 
Let 's follow him, and pervert the present wrath 150 

He hath against himself. 

lachimo. With all my heart. {^Exeunt, 

Scene V. Another Room in Philario' s House 

Enter Posthumus 

Posthumus, Is there no way for men to be but women 
Must be half-workers ? We are all bastards ; 
And that most venerable man which I 
Did call my father was I know not where 
When I was stamp 'd ; some coiner with his tools 
Made me a counterfeit. Yet my mother seem'd 

The Dian of that time ; so doth my wife 

The nonpareil of this. O, vengeance, vengeance 1 

Me of my lawful pleasure she restrain'd 

And pray'd me oft forbearance, did it with ic 

A pudency so rosy the sweet view on 't 

Might well have warm'd old Saturn, that I thought her 

As chaste as unsunn'd snow. — Could I find out 



Scene V] Cymbeline 69 

The woman's part in me! For there 's no motion 

That tends to vice in man but I affirm 

It is the woman *s part : be it lying, note it, 

The woman's ; flattering, hers ; deceiving, hers ; 

Lust and rank thoughts, hers, hers ; revenges, hers ; 

Ambitions, covetings, change of prides, disdain, 

Nice longing, slanders, mutability, 20 

All. faults that may be nanrd, nay, that hell knows. 

Why, hers, in part or all, — but rather, all ; 

For even to vice 

They are not constant, but are changing still 

One vice, but of a minute old, for one 

Not half so old as that. I '11 write against them, 

Detest them, curse them ; yet 't is greater skill. 

In a true hate, to pray they have their will, 

The very devils cannot plague them better. \^Exit, 







PisANio AND Imogen (Scene 4) 



ACT III 

Scene I. Britain. A Hall in Cyrnbeline^s Palace 

Enter iii state^ Cymbelixe, Queen, Cloten, and Lords 
at 07ie door, and at another Caius Lucius and 
Attendants 

Cymbeline. Now say, what would Augustus Caesar 

with us? 
Lucius. When Juhus Caesar, whose remembrance yet 
Lives in men's eyes and will to ears and tongues 
Be theme and hearing ever, was in this Britain 
And conquer'd it, Cassibelan, thine uncle, — 
Famous in Caesar's praises, no whit less 

70 



Scene ij Cymbeline 7 1 

Than in his feats deserving it, — for him 
And his succession granted Rome a tribute, 
Yearly three thousand pounds, which by thee lately 
Is left untender'd. 

Queen. And, to kill the marvel, 10 

Shall be so ever. 

Cloten, There be many Caesars 

Ere such another Julius. Britain is 
A world by itself, and we will nothing pay 
For wearing our own noses. 

Queen. That opportunity 

Which then they had to take from 's, to resume 
We have again. — Remember, sir, my liege. 
The kings your ancestors, together with 
The natural bravery of your isle, which stands 
As Neptune's park, ribbed and paled in 
With rocks unscalable and roaring waters, 20 

With sands that will not bear your enemies' boats, 
But suck them up to the topmast. A kind of con- 
quest 
Caesar made here, but made not here his brag 
Of ' Came and saw and overcame.' With shame — 
The first that ever touched him — he was carried 
From off our coast, twice beaten, and his shipping — 
Poor ignorant baubles 1 — on our terrible seas. 
Like egg-shells mov'd upon their surges, crack'd 
As easily 'gainst our rocks ; for joy whereof 
The famed Cassibelan, w^ho was once at point — 30 
O giglot fortune ! — to master Caesar's sword, 



72 Cymbeline [Act ill 

Made Lud's town with rejoicing fires bright 
And Britons strut with courage. 

Cloten. Come, there 's no more tribute to be paid. 
Our kingdom is stronger than it was at that time, 
and, as I said, there is no moe such Caesars ; other 
of them may have crooked noses, but to owe such 
straight arms, none. 

Cymbeline. Son, let your mother end. 39 

Cloten. We have yet many among us can gripe as 
hard as Cassibelan. I do not say I am one ; but I 
have a hand. — Why tribute ? why should we pay 
tribute ? If Caesar can hide the sun from us with a 
blanket, or put the moon in his pocket, w^e will pay 
him tribute for light ; else, sir, no more tribute, pray 
you now. 

Cymbeline, You must know. 
Till the injurious Romans did extort 
This tribute from us, we w^ere free. Caesar's ambition. 
Which sweird so much that it did almost stretch 50 

The sides o' the world, against all colour here 
Did put the yoke upon 's, which to shake off 
Becomes a warlike people, whom we reckon 
Ourselves to be. 

Cloten. We do. 

Cy7nbeline. Say, then, to Caesar, 

Our ancestor was that Mulmutius which 
Ordain 'd our laws, whose use the sword of Caesar 
Hath too much mangled, whose repair and franchise 
Shall by the power we hold be our good deed, 



Scene I] Cymbeline 73 

Though Rome be therefore angry. Muhiiutius made 

our laws, 
Who was the first of Britain which did put 60 

His brows within a golden crown and calPd 
Himself a king. 

Lucius. I am sorry, Cymbeline, 

That I am to pronounce Augustus Caesar — 
Caesar, that hath moe kings his servants than 
Thyself domestic officers — thine enemy. 
Receive it from me, then : war and confusion 
In Caesar's name pronounce I 'gainst thee ; look 
For fury not to be resisted. Thus defied, 
I thank thee for myself. 

Cymbeline. Thou art welcome, Caius. 

Thy Caesar knighted me ; my youth I spent 70 

Much under him ; of him I gathered honour. 
Which he to seek of me again, perforce, 
Behoves me keep at utterance. I am perfect 
That the Pannonians and Dalmatians for 
Their hberties are now in arms, a precedent 
Which not to read would show the Britons cold ; 
So Caesar shall not find them. 

Lucius, Tet proof speak. 

Cloten, His majesty bids you welcome. Make 
pastime with us a day or two, or longer. If you 
seek us afterwards in other terms, vou shall find us 
in our salt-water girdle ; if you beat us out of it, it is 
yours. If you fall in the adventure, our crows shall 
fare the better for you ; and there 's an end. ^ ?i^ 



74 Cymbeline [Act ill 

Lucius. So, sir. 

Cy77ibeline. I know your master's pleasure and he 
mine ; 
All the remain is, Welcome ! \Exeunt, 



Scene II. Afiother Room in the Palace 
Enter Pisanio, with a letter 

Fisanio. How ! of adultery ? Wherefore write you 

not 
What monster 's her accuser ! — Leonatus ! 
O master ! what a strange infection 
Is fallen into thy ear ! What false Italian, 
As poisonous-tongu'd as handed, hath prevaiPd 
On thy too ready hearing ? — Disloyal ! No ; 
She 's punish'd for her truth, and undergoes, 
More goddess-like than wife-like, such assaults 
As would take in some virtue. — O my master I 
Thy mind to her is now as low as were lo 

Thy fortunes. — How ! that I should murther her ? 
Upon the love and truth and vows which I 
Have made to thy command ? I, her ? her blood ? 
If it be so to do good service, never 
Let me be counted serviceable. How look I, 
That I should seem to lack humanity 
So much as this fact comes to ? [Reading] ' Do V.* the 

letter 
That I have sent her^ by her own coimnand 



Scene 11] Cymbeline 75 

Shall give thee opportunity' — O damn'd paper! 

Black as the ink that 's on thee ! Senseless bauble, 20 

Art thou a fedary for this act, and look'st 

So virgin-like without ? — Lo, here she comes. 

I am ignorant in what I am commanded. 

Enter Imogen 

Imogen, How^ now, Pisanio ! 

Pisanio, Madam, here is a letter from my lord. 

Imogen. Who ? thy lord ? that is my lord, Leonatus ! 
O, learn 'd indeed were that astronomer 
That knew the stars as I his characters ; 
He 'd lay the future open. — You good gods, 
Let what is here contain'd rehsh of love, 30 

Of my lord's health, of his content, yet not 
That we two are asunder, — let that grieve him. 
Some griefs are med'cinable ; that is one of them, 
For it doth physic love ; — of his content. 
All but in that ! — Good w^ax, thy leave. — Blest be 
You bees that make these locks of counsel 1 Lovers 
And men in dangerous bonds pray not alike ; 
Though forfeiters you cast in prison, yet 
You clasp young Cupid's tables. — Good news, gods ! 39 

[Reads] 'Justice^ and your father's W7^ath, should he 
take me in his dominion^ could not he so cruel to me 
as you, O the dearest of creatu7^es, would even reiiew 
me with your eyes. Take notice that I am in Cam- 
bria, at Milford-Haven ; what your own love will out 
of this advise you, follow. So he wishes you all hap- 



76 Cymbellne [Act in 

piness, that remains loyal to his voiv, and your^ increas- 
ing in love, Leonatus Posthumus.' 
O, for a horse with wings ! — Hear'st thou, Pisanio? 
He is at Milford-Haven ; read, and tell me 
How far 't is thither. If one of mean affairs 50 
May plod it in a week, why may not I 
Glide thither in a day ? Then, true Pisanio, — ■ 
Who long'st, like me, to see thy lord ; who long'st, — 
O, let me bate ! — but not like me, — yet long'st. 
But in a fainter kind, — O, not like me. 
For mine 's beyond beyond ! — say, and speak thick, — 
Love's counsellor should fill the bores of hearing, 
To the smothering of the sense, — how far it is 
To this same blessed Milford ; and by the way 
Tell me how Wales was made so happy as 60 
To inherit such a haven ; but, first of all. 
How we may steal from hence, and for the gap 
That we shall make in time, from our hence-going 
And our return, to excuse, — but, first, how get hence. 
Why should excuse be born or ere begot ? 
We '11 talk of that hereafter. Prithee, speak. 
How many score of miles may we well ride 
'Twixt hour and hour ? 

Pisanio. One score 'twaxt sun and sun. 

Madam, 's enough for you, — and too much too. 

Imogen. Why, one that rode to 's execution, man, 70 
Could never go so slow ; I have heard of riding 

wagers 
Where horses have been nimbler than the sands 



Scene III] Cymbeline 77 

That run i' the clock's behalf. — But this is foolery. — 

Go bid my woman feign a sickness, say 

She '11 home to her father : and provide me presently 

A riding-suit, no costlier than would fit 

A franklin's housewife. 

Pisanio, Madam, you 're best consider. 

Imogen. I see before me, man ; nor here, nor here, 
Xor what ensues, but have a fog in them 
That I cannot look through. Away, I prithee ; 80 

Do as I bid thee. There 's no more to sav : 
Accessible is none but Milford way. \_Exeii7it. 

Scene III. Wales : a Motinfainoiis Country with a 

Cave 

E?iter,f?'o?n the cave, Belarius, Guiderius, and 

Arviragus 

Belarius. A goodly day not to keep house, with 
such 
Whose roof 's as low as ours ! Stoop, boys ; this gate 
Instructs you how to adore the heavens, and bows you 
To a morning's holy office. The gates of monarchs 
Are arch'd so high that giants may jet through 
And keep their impious turbans on, without 
Good morrow to the sun. — Hail, thou fair heaven ! 
We house i' the rock, yet use thee not so hardly 
As prouder livers do. 

Guide7ius. ' Hail, heaven ! 

Arviragus. Hail, heaven ! 



78 Cymbeline [Act iii 

Belarius, Now for our mountain sport. Up to yond 
hill ! 10 

Your legs are young ; I '11 tread these flats. Consider, 
When you above perceive me like a crow, 
That it is place which lessens and sets off ; 
x\nd you may then revolve w^hat tales I have told you 
Of courts, of princes, of the tricks in war. 
This service is not service, so being done. 
But being so allow^'d; to apprehend thus. 
Drawls us a profit from all things we see, 
And often, to our comfort, shall we find 
The sharded beetle in a safer hold 20 

Than is the full-wing'd eagle. O, this life 
Is nobler than attending for a check, 
Richer than doing nothing for a bribe, 
Prouder than rustling in unpaid-for silk. 
Such gain the cap of him w^ho makes 'em fine, 
Yet keeps his book uncross'd ; no life to ours. 

Guideriics. Out of your proof you speak ; we, poor 
unfledg'd. 
Have never wing'd from view o' the nest, nor know not 
What air 's from home. Haply this life is best 
If quiet life be best, sweeter to you 30 

That have a sharper known, w^ell corresponding 
With your stiff age ; but unto us it is 
A cell of ignorance, travelling a-bed, 
A prison for a debtor, that not dares 
To stride a limit. 

Arviragus, What should we speak of 



Scene III] Cymbeline 79 

When we are old as you ? when we shall hear 

The rain and wind beat dark December, how 

In this our pinching cave shall we discourse 

The freezing hours away ? We have seen nothing ; 

We are beastly, subtle as the fox for prey, 40 

Like warlike as the wolf for what we eat ; 

Our valour is to chase what flies ; our cage 

We make a quire, as doth the prison 'd bird, 

And sing our bondage freely. 

Belarius. How you speak ! 

Did you but know the city's usuries 
And felt them knowingly ; the art o' the court, 
As hard to leave as keep, whose top to cHmb 
Is certain falling or so slippery that 
The fear 's as bad as falling ; the toil o' the war, 
A pain that only seems to seek out danger 50 

I' the name of fame and honour ; which dies i' the 

search. 
And hath as oft a slanderous epitaph 
As record of fair act ; nay, many times, 
Doth ill deserve by doing w^ell ; what 's worse, 
Must curtsy at the censure. — O boys, this story 
The world may read in me ; my body 's mark'd 
With Roman swords, and my report was once 
First with the best of note. Cymbeline lov'd me. 
And when a soldier w^as the theme my name 
Was not far off ; then was I as a tree 60 

Whose boughs did bend with fruit, but in one night 
A storm or robbery, call it w^hat you will, 



8o Cymbeline [Act ill 

Shook down my mellow hangings, nay, my leaves, 
And left me bare to weather. 

Gicideriics. Uncertain favour ! 

Belaidus. My fault being nothing — as I have told 
you oft — 
But that two villains, whose false oaths prevail'd 
Before my perfect honour, swore to Cymbeline 
I was confederate with the Romans ; so 
Follow'd my banishment, and this twenty years 
This rock and these demesnes have been my world, 70 
Where I have liv'd at honest freedom, paid 
More pious debts to heaven than in all 
The fore-end of my time. — But up to the mountains ! 
This is not hunters' language. — He that strikes 
The venison first shall be the lord o' the feast ; 
To him the other two shall minister, 
And we will fear no poison, which attends 
In place of greater state. I '11 meet you in the val- 
leys. — \Exeiint G^iiderms and Arviragas. 
How hard it is to hide the sparks of nature ! 
These boys know little they are sons to the king, 80 
Nor Cymbeline dreams that they are alive. 
They think they are mine ; and though train 'd up thus 

meanly 
I' the cave wherein they bow, their thoughts do hit 
The roofs of palaces, and nature prompts them 
In simple and low things to prince it much 
Beyond the trick of others. This Polydore, 
The heir of Cymbeline and Britain, who 



Scene IV] Cymbeline 8 1 

The king his father call'd Guiderius, — Jove ! 

When on my three-foot stool I sit and tell 

The warlike feats I have done, his spirits fly out 90 

Into my story, say ^ Thus mine enemy fell, 

And thus I set my foot on 's neck ; ' even then 

The princely blood flows in his cheek, he sweats. 

Strains his young nerves, and puts himself in posture 

That acts my words. The younger brother, Cadwal, 

Once Arviragus, in as like a figure, 

Strikes life into my speech and shows much more 

His own conceiving. — Hark, the game is rous'd ! — 

O Cymbeline ! heaven and my conscience knows 

Thou didst unjustly banish me ; whereon, 100 

At three and two years old, I stole these babes, 

Thinking to bar thee of succession, as 

Thou reft'st me of my lands. — Euriphile, 

Thou wast their nurse ; they took thee for their mother. 

And every day do honour to her grave ; 

Myself, Belarius, that am Morgan call'd. 

They take for natural father. — The game is up. \_Exit. 

Scene IV. Near Milford-Haven 

Enter Pisanio and Imogen 

Imogefi. Thou told'st me, when w^e came from horse, 
the place 
Was near at hand. — Ne'er long'd my mother so 
To see me first as I have now. — Pisanio ! man 1 
Where is Posthumus ? What is in thy mind 

CYMBELINE — 6 



82 Cymbeline [Act ill 

That makes thee stare thus ? Wherefore breaks that 

sigh 
From the inward of thee ? One but painted thus 
Would be interpreted a thing perplex'd 
Beyond self-expHcation ; put thyself 
Into a haviour of less fear ere wildness 
Vanquish my staider senses. What 's the matter ? lo 
Why tender'st thou that paper to me with 
A look untender ? If 't be summer news, 
Smile to 't before ; if winterly, thou need'st 
But keep that countenance still. — My husband's hand ! 
That drug-damn 'd Italy hath out-craftied him. 
And he 's at some hard point. — Speak, man; thy tongue 
May take off some extremity which to read 
Would be even mortal to me. 

Fisaiiio, Please you, read ; 

And you shall find me, wretched man, a thing 
The most disdain'd of fortune. 20 

Imogen. [Reads] ^ Thy mist^-ess^ Pisanio, hath 
played the strumpet in my bed, the testimonies whe^-eof 
lie bleeding in me. I speak not out of weak surmises, 
but from proof as strong as my grief and as certain as 
I expect my revenge. That part thou, Fisanio, must 
act for me, if thy faith be not tainted with the breach 
of he7's. Let thine own hands take away her life ; 1 
shall give thee opportunity at Milf or d- Haven. She 
hath my letter for the purpose ; where ^ if thou fear to 
st^Hke and to make me certain it is done, thou art the 
pander to her dishonour and equally to me disloyal.' 31 



Scene IV] Cymbeline 83 

Pisanio, What shall I need to draw my sword ? the 
paper 
Hath cut her throat already. — No, 't is slander, 
Whose edge is sharper than the sword, whose tongue 
Outvenoms all the worms of Nile, whose breath 
Rides on the posting winds and doth behe 
All corners of the world ; kings, queens, and states. 
Maids, matrons, nay, the secrets of the grave 
This viperous slander enters. — What cheer, madam ? 

Imogen, False to his bed ! What is it to be false ? 
To lie in watch there and to think on him ? 41 

To weep 'twixt clock and clock ? if sleep charge nature. 
To break it with a fearful dream of him 
And cry myself awake ? that "s false to 's bed, is it ? 

Pisanio, Alas, good lady ! 

Imogen, I false ! Thy conscience witness ! — lach- 
imo, 
Thou didst accuse him of incontinency ; 
Thou then look'dst like a villain, now methinks 
Thy favour 's good enough. — Some jay of Italy 
Whose mother was her painting hath betray'd him. 50 
Poor I am stale, a garment out of fashion ; 
And, for I am richer than to hang by the walls, 
I must be ripp'd : — to pieces with me ! — O, 
Men's vows are women's traitors ! All good seeming. 
By thy revolt, O husband, shall be thought 
Put on for villany ; not born where 't grows, 
But worn a bait for ladies. 

Pisanio, Good madam, hear me. 



84 Cymbeline [Act ill 

Imogen. True honest men being heard, Hke false 
^neas, 
Were in his time thought false, and Sinon's weeping 
Did scandal many a holy tear, took pity 60 

From most true wretchedness ; so thou, Posthumus, 
Wilt lay the leaven on all proper men. 
Goodly and gallant shall be false and perjur'd 
From thy great fail. — Come, fellow, be thou honest ; 
Do thou thy master's bidding. When thou see'st 

him, 
A little witness my obedience. Look ! 
I draw the sword myself ; take it, and hit 
The innocent mansion of my love, my heart. 
Fear not, 't is empty of all things but grief ; 
Thy master is not there, who was indeed 70 

The riches of it. Do his bidding ; strike ! 
Thou mayst be valiant in a better cause, 
But now thou seem'st a coward. 

Pisanio. Hence, vile instrument ! 

Thou shalt not damn my hand. 

Imogeji, Why, I must die ; 

And if I do not by thy hand, thou art 
No servant of thy master's. Against self-slaughter 
There is a prohibition so divine 

That cravens my w^eak hand. Come, here 's my heart. 
Something 's afore 't. — Soft, soft ! we '11 no defence ; 
Obedient as the scabbard. — What is here ? 80 

The scriptures of the loyal Leonatus, 
All turn'd to heresy? Away, away, 



Scene IV] Cymbeline 85 

Corrupters of my faith ! you shall no more 

Be stomachers to my heart. Thus may poor fools 

Believe false teachers ; though those that are betray'd 

Do feel the treason sharply, yet the traitor 

Stands in worse case of woe. 

And thou, Posthumus, thou that didst set up 

My disobedience 'gainst the king my father, 

And make me put into contempt the suits 90 

Of princely fellows, shalt hereafter find 

It is no act of common passage, but 

A strain of rareness ; and I grieve myself 

To think, when thou shalt be disedg'd by her 

That now thou tir'st on, how thy memory 

Will then be pang'd by me. — Prithee, dispatch. 

The lamb entreats the butcher ; where 's thy knife ? 

Thou art too slow to do thy master's bidding 

When I desire it too. 

Pisanio. O gracious lady, 

Since I receiv'd command to do this business 100 

I have not slept one wink. 

Imogen. Do 't, and to bed then. 

Pisanio. I '11 wake mine eye-balls blind first. 

Imogen. Wherefore then 

Didst undertake it ? Why hast thou abus'd 
So many miles with a pretence ? this place ? 
Mine action and thine own ? our horses' labour ? 
The time inviting thee ? the perturb 'd court 
For my being absent ? whereunto I never 
Purpose return. Why hast thou gone so far, 



86 Cymbeline [Act in 

To be unbent when thou hast ta'en thy stand, 
The elected deer before thee ? 

Pisanio. But to win time no 

To lose so bad employment, in the which 
I have consider'd of a course. Good lady, 
Hear me with patience. 

Imogen. Talk thy tongue weary ; speak. 

I have heard I am a strumpet, and mine ear, 
Therein false struck, can take no greater wound, 
Nor tent to bottom that. But speak. 

Pisanio. Then, madam, 

I thought you would not back again. 

Imogen. Most like, 

Bringing me here to kill me. 

Pisanio. Not so, neither ; 

But if I were as wise as honest, then 
My purpose would prove well. It cannot be 120 

But that my master is abus'd ; 
Some villain, ay, and singular in his art, 
Hath done you both this cursed injury. 

Imogen. Some Roman courtesan. 

Pisanio. No, on my life. 

I '11 give but notice you are dead and send him 
Some bloody sign of it, for 't is commanded 
I should do so ; you shall be miss'd at court, 
And that will well confirm it. 

Imogen. Why, good fellow, 

What shall I do the while ? where bide ? how live ? 
Or in my life what comfort when I am 130 



Scene IV] Cymbeline 87 

Dead to my husband ? 

Pisanio. If you '11 back to the court — 

Imogen, No court, no father ; nor no more ado 
With that harsh, noble, simple nothing, 
That Cloten, whose love-suit hath been to me 
As fearful as a siege. 
• Pisanio. If not at court. 

Then not in Britain must you bide. 

Imogen. Where then ? 

Hath Britain all the sun that shines ? Day, night. 
Are they not but in Britain ? I' the world's volume 
Our Britain seems as of it but not in 't. 
In a great pool a swan's nest ; prithee, think 140 

There 's livers out of Britain. 

Pisanio. I am most glad 

You think of other place. The ambassador, 
Lucius the Roman, comes to Milford- Haven 
To-morrow. Now, if you could wear a mind 
Dark as your fortune is, and but disguise 
That which, to appear itself, must not yet be 
But by self-danger, you should tread a course 
Pretty and full of view ; yea, haply, near 
The residence of Posthumus, — so nigh at least 
That though his actions were not visible, yet 150 

Report should render him hourly to your ear 
As truly as he moves. 

Imogen. O, for such means ! 

Though peril to my modesty, not death on 't, 
I would adventure, . 



88 Cymbeline [Act ill 

Pisanio, Well, then, here 's the point: 

You must forget to be a woman, change 
Command into obedience, fear and niceness — 
The handmaids of all women, or, more truly. 
Woman it pretty self — into a waggish courage. 
Ready in gibes, quick-answer'd, saucy, and 
As quarrelous as the weasel ; nay, you must i6o 

Forget that rarest treasure of your cheek, 
Exposing it — but, O, the harder heart! 
Alack, no remedy ! — to the greedy touch 
Of common-kissing Titan, and forget i 

Your laboursome and dainty trims, wherein ' 

You made great Juno angry. 

Bnogen. Nay, be brief ; 

I see into thy end, and am almost 
A man already. 

Pisanio. First, make yourself but like one. 

Fore-thinking this, I have already fit — 
'T is in my cloak-bag — doublet, hat, hose, all 170 

That answer to them. Would you in their serving, 
And with what imitation you can borrow 
From youth of such a season, fore noble Lucius 
Present yourself, desire his service, tell him 
Wherein you 're happy, — which you '11 make him know. 
If that his head have ear in music, — doubtless 
•With joy he will embrace you, for he 's honourable. 
And doubling that, most holy. Your means abroad, 
You have me, rich ; and I will never fail 1 

Beginning nor supplyment. 



Scene V] Cymbeline 89 

Imogen, Thou art all the comfort 

The gods will diet me with. Prithee, away ; 181 

There 's more to be consider'd, but we '11 even 
All that good time will give us. This attempt 
I am soldier to, and will abide it with 
A prince's courage. Away, I prithee. 

Pisanio. Well, madam, we must take a short farewell, 
Lest, being miss'd, I be suspected of 
Your carriage from the court. My noble mistress, 
Here is a box ; I had it from the queen. 
What 's in 't is precious ; if you are sick at sea 190 

Or stomach-qualm'd at land, a dram of this 
Will drive away distemper. — To some shade. 
And fit you to your manhood. — May the gods 
Direct you to the best ! 

Imogeii, Amen ! I thank thee. \^Exeiint, severally. 



Scene V. A Room in Cymbeliiie'' s Palace 

Enter Cymbeline, Queen, Cloten, Lucius, Lords, and 

Attendants 

Cymbeline. Thus far ; and so farewell. 

Lucius, Thanks, royal sir. 

My emperor hath wrote I must from hence, 
And am right sorry that I must report ye 
My master's enemy. 

Cymbeline. Our subjects, sir. 

Will not endure his voke ; and for ourself 



90 Cymbeline [Act iii 

To show less sovereignty than they must needs 
Appear unkinglike. 

Lucius. So, sir. I desire of you 

A conduct over-land to Milford-Haven. — 
Madam, all joy befall your grace ! 

Quee?i. And you ! 

Cymbeline. My lords, you are appointed for that office ; 
The due of honour in no point omit. — n 

So farewell, noble Lucius. 

Lucius. Your hand, my lord. 

Clote7i. Receive it friendly ; but from this time forth 
I wear it as your enemy. 

Lucius. Sir, the event 

Is yet to name the winner ; fare you well. 

Cyi7ibeline. Leave not the worthy Lucius, good my 
lords, 
Till he have cross'd the Severn. — Happiness ! 

\_Exeu7it Liccius and Loi^ds. 

Queen. He goes hence frowning, bpt it honours us 
That we have given him cause. 

Cloten. 'T is all the better ; 

Your valiant Britons have their wishes in it. 20 

Cymbeline. Lucius hath wTote already to the em- 
peror 
How it goes here. It fits us therefore ripely 
Our chariots and our horsemen be in readiness ; 
The powers that he already hath in Gallia 
Will soon be drawn to head, from whence he moves 
His war for Britain, 



Scene V] Cymbeline 9I 

Queen. 'T is not sleepy business, 

But must be look'd to speedily and strongly. 

Cymbeline. Our expectation that it would be thus 
Hath made us forward. But, my gentle queen, 
Where is our daughter ? She hath not appear'd 30 

Before the Roman, nor to us hath tender'd 
The duty of the day. She looks us like 
A thing more made of malice than of duty ; 
We have noted it. — Call her before us, for 
We have been too slight in sufferance. 

\Exit an Attendant. 

Queen. Royal sir, 

Since the exile of Posthumus, most retir'd 
Hath her life been ; the cure whereof, my lord, 
'T is time must do. Beseech your majesty. 
Forbear sharp speeches to her ; she 's a lady 
So tender of rebukes that words are strokes 40 

And strokes death to her. 

Re-enter Attendant 

Cy^nbeline, Where is she, sir ? How 

Can her contempt be answer'd ? 

Attendant. Please you, sir, 

Her chambers are all lock'd ; and there 's no answer 
That will be given to the loud'st noise we make. 

Queen. My lord, when last I went to visit her. 
She pray'd me to excuse her keeping close, 
Whereto constrain'd by her infirmity, 
She should that duty leave unpaid to you 



91 Cymbeline [Act III 

Which daily she was bound to proffer ; this 

She wish'd me to make known, but our great court 50 

Made me to blame in memory. 

Cymbeline. Her doors lock'd ? 

Not seen of late ? Grant, heavens, that which I fear 
Prove false ! \^Exit, 

Queen. Son, I say, follow the king. 

Cloten. That man of hers, Pisanio, her old servant, 
I have not seen these two days. 

Queen. Go, look after. — \^Exit Cloten. 

Pisanio, thou that stand'st so for Posthumus ! 
He hath a drug of mine ; I pray his absence 
Proceed by swallowing that, for he believes 
It is a thing most precious. But for her, 
Where is she gone ? Haply, despair hath seiz'd her. 
Or, wing'd with fervour of her love, she 's flown 61 

To her desir'd Posthumus. Gone she is 
To death or to dishonour, and my end 
Can make good use of either ; she being down, 
I have the placing of the British crown. — 

Re-enter Cloten 

How now, my son ! 

Cloten. 'T is certain she is fled. 

Go in and cheer the king. He rages ; none 
Dare come about him. 

Queen. \Aside'\ All the better ; may 

This night forestall him of the coming day ! \^Exit. 

Cloten. I love and hate her, for she 's fair and royal, 



Scene V] Cymbeline 93 

And that she hath all courtly parts more exquisite 71 

Than lady, ladies, woman ; from every one 

The best she hath, and she, of all compounded, 

Outsells them all. I love her therefore ; but 

Disdaining me and throwing favours on 

The low Posthumus slanders so her judgment 

That what 's else rare is chok'd, and in that point 

I will conclude to hate her, nay, indeed, 

To be reveng'd upon her. For when fools 

Shall — 

Enter Pisanio 

Who is here ? What, are you packing, sirrah ? 
Come hither. Ah, you precious pander ! Villain, 81 
Where is thy lady ? In a word, or else 
Thou art straightway with the fiends. 

Pisanio. O, good my lord ! 

Cloten. Where is thy lady ? or, by Jupiter, — 
I will not ask again. Close villain, 
I '11 have this secret from thy heart or rip 
Thy heart to find it. Is she with Posthumus ? 
From whose so many weights of baseness cannot 
A dram of worth be drawn. 

Pisanio, Alas, my lord, 

How can she be with him ? When was she miss'd ? 90 
He is in Rome. 

Cloten. Where is she, sir ? Come nearer ; 

No further halting. Satisfy me home 
What is become of her. 



94 Cymbeline [Act in 

Pisanio, O, my all-worthy lord ! 

Clote7i. All-worthy villain ! 

Discover where thy mistress is at once, 
At the next word ; no more of ' worthy lord ! ' 
Speak, or thy silence on the instant is 
Thy condemnation and thy death. 

Pisanio, Then, sir, 

This paper is the history of my knowledge 
Touching her flight. [^Presenting a letter. 

Cloten. Let 's see 't. I will pursue her 

Even to Augustus' throne. 

Pisa?iio, [Aside] Or this or perish. loi 

She 's far enough ; and what he learns by this 
May prove his travel, not her danger. 

Cloten. . Hum ! 

Pisaiiio. [Aside] I '11 write to my lord she 's dead. 
O Imogen, 
Safe mayst thou wander, safe return again ! 

Cloten. Sirrah, is this letter true ? 

Pisafiio. Sir, as I think. 

Cloten. It is Posthumus' hand ; I know 't. — Sir- 
rah, if thou wouldst not be a villain, but do me true 
service, undergo those employments wherein I should 
have cause to use thee with a serious industry, that 
is, what villany soe'er I bid thee do, to perform it 
directly and truly, I would think thee an honest 
man ; thou shouldst neither want my means for thy 
relief nor my voice for thy preferment. 115 

Pisanio. Well, my good lord. 



Scene V] Cymbeline 95 

Cloten. Wilt thou serve me ? for since patiently 
and constantly thou hast stuck to the bare fortune of 
that beggar Posthumus, thou canst not, in the course 
of gratitude, but be a diligent follower of mine ; wilt 
thou serve me ? 121 

Pisanio. Sir, I will. 

Cloten. Give me thy hand ; here 's my purse. 
Hast any of thy late master's garments in thy pos- 
session ? 

Pisanio, I have, my lord, at my lodging, the same 
suit he wore when he took leave of my lady and 
mistress. 

Cloten, The first service thou dost me, fetch that 
suit hither. Let it be thy first service ; go. 130 

Pisanio, I shall, my lord. \Exit, 

Cloten. Meet thee at Milford-Haven ! — I forgot 
to ask him one thing ; I '11 remember 't anon. — Even 
there, thou villain Posthumus, will I kill thee. I 
would these garments were come. She said upon a 
time — the bitterness of it I now belch from my heart 
— that she held the very garment of Posthumus in 
more respect than my noble and natural person, to- 
gether with the adornment of my qualities. With 
that suit upon my back, will I ravish her ; first kill 140 
him, and in her eyes ; there shall she see my valour, 
which will then be a torment to her contempt. He 
on the ground, my speech of insultment ended on his 
dead body, and when my lust hath dined, — which, 
as I say, to vex her I will execute in the clothes that 



96 Cymbeline [Act ill 

she so praised, — to the court I '11 knock her back, 
foot her home again. She hath despised me rejoic- 
ingly, and I '11 be merry in my revenge. — 

Re-enter Pisanio, with the clothes 

Be those the garments ? 

Pisanio. Ay, my noble lord. 150 

Cloten. How long is 't since she went to Milford- 
Haven ? 

Pisanio. She can scarce be there yet. 

Cloten, Bring this apparel to my chamber ; that is 
the second thing that I have commanded thee ; the 
third is that thou wilt be a voluntary mute to my 
design. Be but duteous, and true preferment shall 
tender itself to thee. — My revenge is now at Milford ; 
would I had wings to follow it! — Come, and be true. 

\^Exit. 

Pisanio. Thou bidd'st me to my loss; for true to 
thee 160 

Were to prove false, which I will never be. 
To him that is most true. — To Milford go. 
And find not her whom thou pursuest. Flow, flow. 
You heavenly blessings, on her ! This fool's speed 
Be cross 'd with slowness, labour be his meed ! \^Exit, 

Scene VI. Wales. Before the Cave of Belarius 

Enter Imogen, in boy^s clothes 

Imogen. I see a man's life is a tedious one ; 
I have tir'd myself, and for two nights together 



Scene VI] Cymbeline 97 

Have made the ground my bed. I should be sick 

But that my resolution helps me. — Milford, 

When from the mountain-top Pisanio show'd thee, 

Thou wast within a ken. O Jove ! I think 

Foundations fly the wretched ; such, I mean, 

Where they should be reliev'd. Two beggars told me 

I could not miss my way ; will poor folks lie, 

That have afflictions on them, knowing 't is 10 

A punishment or trial ? Yes ; no wonder. 

When rich ones scarce tell true. To lapse in fulness 

Is sorer than to lie for need, and falsehood 

Is worse in kings than beggars. — My dear lord ! — 

Thou art one o' the false ones. Now I think on thee 

My hunger 's gone, but even before I was 

At point to sink for food. — But what is this ? 

Here is a path to 't ; 't is some savage hold. 

I were best not call, I dare not call ; yet famine, 

Ere clean it o'erthrow nature, makes it valiant. 20 

Plenty and peace breeds cowards ; hardness ever 

Of hardiness is mother. — Ho ! who 's here ? 

If any thing that 's civil, speak ; if savage. 

Take or lend. Ho ! — No answer ? Then I '11 enter. 

Best draw my sword ; and if mine enemy 

But fear the sword like me, he '11 scarcely look on 't. 

Such a foe, good heavens ! \_Exif, to the cave, 

Ente?' Belarius, Guiderius, and Arviragus 

Belariiis. You, Polydore, have prov'd best woodman 
and 

CYMBELINE — 7 



98 Cymbeline [Act III 

Are master of the feast ; Cadwal and I 

Will play the cook and servant, 't is our match. 30 

The sweat of industry would dry and die 

But for the end it works to. Come, our stomachs 

Will make what 's homely savoury ; weariness 

Can snore upon the flint, when resty sloth 

Finds the down pillow hard. — Now peace be here, 

Poor house, that keep'st thyself ! 

Guiderius, I am throughly weary. 

Arviragics. I am weak with toil, yet strong in 
appetite. 

Guiderius, There is cold meat i' the cave ; we '11 
browse on that 
Whilst what we have kill'd be cook'd. 

Belarius, [^Looking into the cave] Stay ; come not in. 
But that it eats our victuals, I should think 41 

Here were a fairy. 

Guiderius. What 's the matter, sir ? 

Belarius. By Jupiter, an angel ! or, if not, 
An earthly paragon ! — Behold divineness 
No elder than a boy ! 

Re-enter Imogen 

Imogen, Good masters, harm me not. 
Before I enter'd here I call'd, and thought 
To have begg'd or bought what I have took. — Good 

troth, 
I have stolen nought, nor would not, though I had found 
Gold strew'd i' the floor. Here 's money for my meat ; 



Scene VI] Cymbeline 99 

I would have left it on the board so soon 51 

As I had made my meal, and parted 
With prayers for the provider. 

Gtnde?'ius. Money, youth ? 

Ai-viragus. All gold and silver rather turn to dirt ! 
As 't is no better reckon 'd but of those 
Who worship dirty gods. 

Imogen. I see you 're angry ; 

Know, if you kill me for my fault, I should 
Have died had I not made it. 

Belarius. Whither bound ? 

Imogen, To Milford-Haven. 

Belaritis. What 's your name ? 60 

Imogen. Fidele, sir. I have a kinsman who 
Is bound for Italy ; he embark'd at Milford, 
To whom being going, almost spent with hunger, 
I am fallen in this offence. 

Belarius. Prithee, fair youth. 

Think us no churls, nor measure our good minds 
By this rude place w^e live in. Well encounter 'd ! 
'T is almost night ; you shall have better cheer 
Ere you depart, and thanks to stay and eat it. — 
Boys, bid him welcome. 

Ginderins. Were you a woman, youth, 

I should woo hard but be your groom. — In honesty, 70 
I bid for you as I 'd buy. 

A7-inragus. I '11 make 't my comfort 

He is a man ; I '11 love him as my brother, — 
And such a welcome as I 'd give to him 

lUOFC. 



lOO Cymbeline [Act iii 

After long absence, such is yours. — Most welcome ! 
Be sprightly, for you fall 'mongst friends. 

Iviogen. 'Mongst friends, 

If brothers. — \Aside\ Would it had been so, that they 
Had been my father's sons ! then had my prize 
Been less, and so more equal ballasting 
To thee, Posthumus. 

Belarius. He wrings at some distress. 79 

Guiderius, Would I could free 't ! 

Arviragus. Or I, what 'er it be, 

What pain it cost, what danger. Gods ! 

Belarius. Hark, boys. 

[ Whispering. 

Image Ji, Great men, 
That had a court no bigger than this cave, 
That did attend themselves and had the virtue 
Which their own conscience seal'd them — laying by 
That nothing-gift of differing multitudes — 
Could not out-peer these twain. — Pardon me, gods ! 
I 'd change my sex to be companion with them, 
Since Leonatus ' false. 

Belarius. It shall be so. 

Boys, we '11 go dress our hunt. — Fair youth, come in. 90 
Discourse is heavy, fasting; when we have supp'd 
We '11 mannerly demand thee of thy story, 
So far as thou wilt speak it. 

Guiderius. Pray, draw near. 

Arviragus, The night to the owl and morn to the 
lark less welcome. 



Scene VII] Cymbeline lOl 

Lnogen, Thanks, sir. 

Arviragus, I pray, draw near. \_Exeunt. 

Scene VII. Rome. A Public Place 

Eiiter two Senators and Tribunes 

I Senator. This is the tenor of the emperor's writ : 
That since the common men are now in action 
'Gainst the Pannonians and Dalmatians, 
And that the legions now in Gallia are 
Full weak to undertake our wars against 
The fallen-off Britons, that we do incite 
The gentry to this business. He creates 
Lucius proconsul ; and to you the tribunes, 
For this immediate levy, he commends 
His absolute commission. Long live Caesar ! lo 

1 Tribune. Is Lucius general of the forces ? 

2 Senator. Ay. 
I Ti'ibicne, Remaining now in Gallia ? 

I Senator. With those legions 

Which I have spoke of, whereunto your levy 
Must be suppliant ; the words of your commission 
Will tie you to the numbers and the time 
Of their dispatch. 

I Tribune. We will discharge our duty. \Exeiint. 




-"^^ 



The Cave 



ACT IV 

Scene I. Wales : nea?- the Cave of Belaiius 

Enter Cloten 

Cloten, I am near to the place where they should 
meet, if Pisanio have mapped it truly. How fit his 
garments serve me ! Why should his mistress, who 
was made by him that made the tailor, not be fit too ? 
the rather — saving reverence of the word — for 't is 
said a woman's fitness comes by fits. Therein I must 
play the workman. I dare speak it to myself — for 
it is not vainglor}^ for a man and his glass to confer 
in his own chamber — I mean, the lines of my body 
are as well draA\Ti as his ; no less young, more strong, lo 

1 02 



Scene II] Cymbeline 103 

not beneath him in fortunes, beyond him in the advan- 
tage of the time, above him in birth, ahke conversant 
in general services, and more remarkable in single 
oppositions ; yet this imperseverant thing loves him 
in my despite. What mortality is ! Posthmnus, thy 
head, which now is growing upon thy shoulders, shall 
within this hour be off, thy mistress enforced, thy 
garments cut to pieces before thy face ; and all this 
done, spurn her home to her father, who may happily 
be a little angry for my so rough usage, but my 
mother, having power of his testiness, shall turn all 
into my commendations. My horse is tied up safe ; 
out, sword, and to a sore purpose ! Fortune put them 
into my hand ! This is the very description of their 
meeting-place, and the fellow dares not deceive me. 25 

Scene II. Before the Cave of Belarius 

Enter, from the cave, Belarius, Guiderius, Arvira- 
Gus, and Imogen 

Belarius. \^To Imogen'] You are not well ; remain here 
in the cave. 
We '11 come to you after hunting. 

Arviragus, \7.^o Imogeii] Brother, stay here ; 

Are we not brothers ? 

Imogen. So man and man should be ; 

But clay and clay differs in dignity, 
Whose dust is both alike. I am very sick. 

Guiderius. Go you to hunting ; I '11 abide with him. 



I04 Cymbeline [Act IV 

Imogen, So sick I am not, yet I am not well, 
But not so citizen a wanton as 
To seem to die ere sick. So please you, leave me ; 
Stick to your journal course ; the breach of custom lo 
Is breach of all. I am ill, but your being by me 
Cannot amend me ; society is no comfort 
To one not sociable. I am not very sick. 
Since I can reason of it. Pray you, trust me here ; 
I '11 rob none but myself, and let me die, 
Stealing so poorly. 

Guiderius, I love thee, I have spoke it ; 

How much the quantity, the weight as much. 
As I do love my father. 

Belarius, What ! how ! how ! 

Arviragus. If it be sin to say so, sir, I yoke me 
In my good brother's fault. I know not why 20 

I love this youth, and I have heard you say 
Love's reason 's without reason ; the bier at door 
And a demand who is 't shall die, I 'd say 
My father, not this youth. 

Belarius, [Aside] O noble strain ! 

worthiness of nature ! breed of greatness ! 
Cowards father cowards and base things sire base. 
Nature hath meal and bran, contempt and grace. 

1 'm not their father ; yet who this should be, 
Doth miracle itself, lov'd before me. — 

'T is the ninth hour o' the morn. 

Annragus. Brother, farewell. 30 

Imogen, I wash ye sport. 



Scene II] Cymbeline 105 

Arviragus. You health. — So please you, sir. 

Imogen. \_Aside\ These are kind creatures. Gods, 
Avhat lies I have heard ! 
Our courtiers say all 's savage but at court ; 
Experience, O, thou disprov'st report ! 
The imperious seas breed monsters, for the dish 
Poor tributary rivers as sweet fish. 
I am sick still, heart-sick. — Pisanio, 
I 11 now taste of thy drug. 

Guiderius, I could not stir him. 

He said he was gentle, but unfortunate ; 
Dishonestly afflicted, but yet honest. 40 

Arviragus. Thus did he answer me, yet said here- 
after 
I might know more. 

Belarius. To the field, to the field ! — 

We '11 leave you for this time ; go in and rest. 

Ai'viragus. We '11 not be long away. 

Belarius, Pray, be not sick, 

For you must be our huswife. 

Imogen, Well or ill, 

I am bound to you. 

Belarius. And shalt be ever. — 

\^Exit Imogen, to the cave. 
This youth, howe'er distress'd, appears he hath had 
Good ancestors. 

Arviragus. How angel-like he sings ! 

Guiderius. But his neat cookery ! he cut our roots 
In characters, 50 



io6 Cymbeline [Act IV 

And sauc'd our broths as Juno had been sick 
And he her dieter. 

Arviragus, Nobly he yokes 

A smiling with a sigh, as if the sigh 
Was that it was for not being such a smile ; 
The smile mocking the sigh that it would fly 
From so divine a temple to commix 
With winds that sailors rail at. 

Giiiderius. I do note 

That grief and patience, rooted in him both, 
Mingle their spurs together. 

Arviragus. Grow, patience ! 

And let the stinking elder, grief, untwine 60 

His perishing root with the increasing vine ! 

Belariiis, It is great morning. Come, away ! — 
Who 's there ? 

Enter Cloten 

Cloten, I cannot find those runagates ; that villain 
Hath mock'd me. I am faint. 

Belarius. Those runagates I 

Means he not us ? I partly know him ; 't is 
Cloten, the son o' the queen. I fear some ambush. 
I saw^ him not these many years, and yet 
I know 't is he. — We are held as outlaws ; hence ! 

Giiide7'ius. He is but one. You and my brother 
search 
What companies are near : pray you, away ; 70 

Let me alone wdth him. \Exeu7it Bela^'ius a?id Arviragus, 



Scene II] Cymbeline 107 

Cloten. Soft ! What are you 

That fly me thus ? some villain mountaineers ? 
I have heard of such. — What slave art thou ? 

Guideiius. A thing 

More slavish did I ne'er than answering 
A slave without a knock. 

Cloten. Thou art a robber, 

A law-breaker, a villain ; yield thee, thief. 

Gicideriiis. To who? to thee? What art thou? 
Have not I 
An arm as big as thine ? a heart as big ? 
Thy words, I grant, are bigger, for I wear not 
My dagger in my mouth. Say what thou art, 80 

Why I should yield to thee ? 

Cloten. Thou villain base, 

Know'st me not by my clothes ? 

Guide7'ius. No, nor thy tailor, rascal. 

Who is thy grandfather ; he made those clothes. 
Which, as it seems, make thee. 

Cloten. Thou precious varlet, 

My tailor made them not. 

Guiderius. Hence, then, and thank 

The man that gave them thee. Thou art some fool ; 
I am loath to beat thee. 

Cloten. Thou injurious thief, 

Hear but my name, and tremble. 

Gtdderiiis. What 's thy name ? 

Cloten. Cloten, thou villain. 89 

Guiderius. Cloten, thou double villain, be thy name, 



io8 Cymbeline [Act IV 

I cannot tremble at it ; were it toad, or adder, spider, 
'T would move me sooner. 

Cloten, To thy further fear, 

Nay, to thy mere confusion, thou shalt know 
I am son to the queen. 

Guiderms, I am sorry for 't, not seeming 

So worthy as thy birth. 

Cloten, Art not afeard ? 

Guiderius, Those that I reverence, those I fear, — 
the wise ; 
At fools I laugh, not fear them. 

Cloten, Die the death ! 

When I have slain thee with my proper hand, 
I '11 follow those that even now fled hence, 
And on the gates of Lud's town set your heads. loo 

Yield, rustic mountaineer. {Exeunt, fighting. 

Re-enter Belarius and Arviragus 

Belarhis, No companies abroad ? 

Arviragus. None in the world; you did mistake 
him, sure. 

Belarius, I cannot tell: long is it since I saw him. 
But time hath nothing blurr'd those lines of favour 
Which then he wore ; the snatches in his voice, 
And burst of speaking, were as his. I am absolute 
'T was very Cloten. 

Annragus, In this place we left them ; 

I wish my brother make good time with him, 
You say he is so fell. 



Scene II] Cymbeline 109 

Belarius. Being scarce made up, no 

I mean, to man, he had not apprehension 
Of roaring terrors ; for defect of judgment 
Is oft the cause of fear. — But, see, thy brother ! 

Re-enter Guiderius, with Cloten's head 

Giiiderius. This Cloten was a fool, an empty purse ; 
There was no money in 't. Not Hercules 
Could have knock'd out his brains, for he had none ; 
Yet I not doing this, the fool had borne 
My head as I do his. 

Belarius, What hast thou done ? 

Guiderius, I am perfect what, — cut off one Cloten's 
head, 
Son to the queen, after his own report, 120 

Who call'd me traitor, mountaineer, and swore 
With his own single hand he 'd take us in. 
Displace our heads where — thank the gods ! — they 

grow, 
And set them on Lud's town. 

Belarius. We are all undone. 

Guiderius, Why, worthy father, what have we to 
lose 
But that he swore to take, our lives ? The law 
Protects not us ; then why should we be tender 
To let an arrogant piece of flesh threat us, 
Play judge and executioner all himself 
For we do fear the law ? What company 130 

Discover you abroad ? 



I lo Cymbeline [Act IV 

Belarius. No single soul 

Can we set eye on, but in all safe reason 
He must have some attendants. Though his humour 
Was nothing but mutation, — ay, and that 
From one bad thing to worse, — not frenzy, not 
Absolute madness could so far have rav'd 
To bring him here alone. Although perhaps 
It may be heard at court that such as we 
Cave here, hunt here, are outlaws, and in time 
May make some stronger head, the which he hear- 
ing — 140 
As it is like him — might break out, and swear 
He 'd fetch us in, yet is 't not probable 
To come alone, either he so undertaking 
Or they so suffering ; then on. good ground we fear, 
If we do fear this body hath a tail 
More perilous than the head. 

Arviragus, Let ordinance 

Come as the gods foresay it ; howsoe'er, 
My brother hath done well. 

Belarius. I had no mind 

To hunt this day ; the boy Fidele's sickness 149 

Did make my way long forth. 

Guiderius, With his own sword. 

Which he did wave against my throat, I have ta'en 
His head from. him. I '11 throw^ 't into the creek 
Behind our rock ; and let it to the sea, 
And tell the fishes he 's the queen's son, Cloten. 
That 's all I reck. \_Exit. 






Scene II] Cymbeline 1 1 1 

Belarius, I fear 't will be reveng'd. 

Would, Polydore, thou hadst not done 't ! though val- 
our 
Becomes thee well enough. 

A7'viragiis. Would I had done 't, 

So the revenge alone pursued me ! — Polydore, 
I love thee brotherly, but envy much 
Thou hast robb'd me of this deed ; I would re- 
venges, i6o 
That possible strength might meet, would seek us 

through 
And put us to our answer. 

Belariiis, Well, 't is done. 

We '11 hunt no more to-day, nor seek for danger 
Where there 's no profit. I prithee, to our rock. 
You and Fidele play the cooks ; I '11 stay 
Till hasty Polydore return, and bring him 
To dinner presently. 

Arviragus. Poor sick Fidele ! 

I '11 willingly to him ; to gain his colour 
I 'd let a parish of such Clotens blood 
And praise myself for charity. [^Exif, 

Belarhis, O thou goddess, 170 

Thou divine Nature, how thyself thou blazon'st 
In these two princely boys ! They are as gentle 
As zephyrs blowing below the violet. 
Not wagging his sweet head ; and yet as rough, 
Their royal blood enchaf'd, as the rud'st wind 
That by the top doth take the mountain pine 



112 Cymbeline [Act IV 

And make him stoop to the vale. 'T is wonder 

That an invisible instinct should frame them 

To royalty unlearn 'd, honour untaught, 

Civility not seen from other, valour iSo 

That wildly grows in them but yields a crop 

As if it had been sow'd. Yet still it 's strange 

What Cloten's being here to us portends. 

Or what his death will bring us. 

Re-enter Guiderius 

Gidderius. Where 's my brother ? 

I have sent Cloten's clotpoll down the stream 
In embassy to his mother, his body's hostage 
For his return. \Soleinn music, 

Belai'ms. My ingenious instrument ! 

Hark, Polydore, it sounds ! But what occasion 
Hath Cadwal now to give it motion ? Hark ! 

Guiderius. Is he at home ? 

Belaiius. He went hence even now. 

Guidei'ius. What does he mean ? since death of my 
dear'st mother 191 

It did not speak before. All solemn things 
Should answer solemn accidents. The matter ? 
Triumphs for nothing and lamenting toys 
Is jollity for apes and grief for boys. 
Is Cadwal mad ? 

Belarius, Look, here he comes, 

And brings the dire occasion in his arms 
Of what we blame him for. 






Scene II] Cymbeline 113 

Re-enter Arviragus, with Imogen, as dead^ beari?ig her 

in his arms 

Annragus. The bird is dead 

That we have made so much on. I had rather 
Have skipp'd from sixteen years of age to sixty, 200 

To have turn'd my leaping-time into a crutch, 
Than have seen this. 

Guideritis. O sweetest, fairest Hly ! 

My brother wears thee not the one half so well 
As when thou grew'st thyself. 

Belarius. O melancholy! 

Who ever yet could sound thy bottom ? find 
The ooze, to show what coast thy sluggish crare 
Might easiliest harbour in ? — Thou blessed thing ! 
Jove knows what man thou mightst have made ; but I, 
Thou diedst, a most rare boy, of melancholy. — 
How found you him ? 

Arviragus. Stark, as you see ; 210 

Thus smiling, as some fly had tickled slumber, 
Not as death's dart, being laugh 'd at ; his right cheek 
Reposing on a cushion. 

Guide litis. Where ? 

A7'viragus. O' the floor, 

His arms thus leagu'd ; I thought he slept, and put 
My clouted brogues from off my feet, whose rudeness 
Answer'd my steps too loud. 

Guideriics. Why, he but sleeps. 

If he be gone, he '11 make his grave a bed; 

CYMBELINE — 8 



1 14 Cymbeline [Act IV 

With female fairies will his tomb be haunted, — 
And worms will not come to thee. 

Arviragus. With fairest flowers 

Whilst summer lasts and I live here, Fidele, 220 

I '11 sweeten thy sad grave ; thou shalt not lack 
The flower that 's like thy face, pale primrose, nor 
The azur'd harebell, like thy veins, no, nor 
The leaf of eglantine, whom not to slander, 
Out-sweeten 'd not thy breath. The ruddock would, 
With charitable bill, — O bill, sore-shaming 
Those rich-left heirs that let their fathers lie 
Without a monument ! — bring thee all this. 
Yea, and furr'd moss besides, when flowers are none, 
To winter-ground thy corse. 

Guiderius, Prithee, have done, 230 

And do not play in wench-like words with that 
Which is so serious. Let us bury him. 
And not protract with admiration what 
Is now due debt. — To the grave ! 

Arviragus, Say, where shall 's lay him ? 

Giiideriiis. By good Euriphile, our mother. 

Arviragus. Be 't so ; 

And let us, Polydore, though now our voices 
Have got the mannish crack, sing him to the ground. 
As once our mother, use like note and words. 
Save that Euriphile must be Fidele. 

Guiderius. Cadwal, 240 

I cannot sing ; I '11 weep, and word it with thee, 
For notes of sorrow out of tune are worse 






Scene II] Cymbeline 115 

Than priests and fanes that he. 

Aiinragus, We 11 speak it, then. 

Belanus. Great griefs, I see, medicine the less, for 
Cloten 
Is quite forgot. He \vas a queen's son, boys ; 
And though he came our enemy, remember 
He was paid for that. Though mean and mighty, rot- 
ting 
Together, have one dust, yet reverence. 
That angel of the world, doth make distinction 
Of place 'tween high and low. Our foe was princely ; 
And though you took his life, as being our foe, 251 

Yet bury him as a prince. 

Giiiderhcs. Pray you, fetch him hither. 

Thersites' body is as good as Ajax' 
When neither are alive. 

Arvb'agus . If you '11 go fetch him, 

We '11 say our song the whilst. — Brother, begin. 

\Exit Bela7'iiis. 

Giiiderhcs, Nay, Cadwal, we must lay his head to 
the east ; 
My father hath a reason for 't. 

Arviragus. 'T is true. 

Giiiderius. Come on then, and remove him. 

Arviragus, So, begin. 

Song 

Guiderius. Fear no inore the heat 0^ the sun, 

Nor the fu7'ious winter's rages ; 260 



ii6 Cymbeline [Act iv 

Thou thy worldly task hast done, 

Home art gone ^ and to' en thy wages; 
Golden lads and gh'ls all must. 
As chimney-sweepers , come to dust. 

Arviragus. Fear no ni07^e the frown o' the great; 

Thou art past the tyrant's stroke ; 
Care no more to clothe and eat ; 

To thee the reed is as the oak ; 
The sceptre, learnings physic, must 
All follow this, and come to dust, 270 

Guiderius. Fear no 7nore the lightning- flash, 
Arviragus. Nor the all- dreaded thunde7'-stone ; 
Guiderius. Fear not slander, censui'e rash ; 
Arviragus. Thou hast finished joy and moan. 
Both. All lovers young, all lovers 7?iust 

Consign to thee, and come to dust, 

Guiderius. No exo reiser harm thee I 

Arviragus. Nor no witchcraft charm thee I 

Guiderius. Ghost unlaid forbear thee ! 

Arviragus. No thiitg ill come near thee ! 280 

Both. Quiet consummation have ; 

And renowned be thy grave ! 

Re-enter Belarius, with the body of Cloten 

Guiderius. We have done our obsequies. Come, lay 

him down. 
Belaidus. Here 's a few flowers, but 'bout midnight 



Scene 11] Cymbeline 117 

The herbs that have on them cold dew o' the night 

Are strewings fitt'st for graves. — Upon their faces. — 

You were as flowers, now wither'd ; even so 

These herblets shall, which we upon 3'ou strew. 

Come on, away ; apart upon our knees. 

The ground that gave them first has them again ; 290 

Their pleasures here are past, so is their pain. 

[^Exeunt Belarius^ Guiderhts, and Arviragus. 
Imogen. \_Awaking~\ Yes, sir, to Milford-Haven ; 
which is the way ? — 
I thank you. — .By yond bush ? — Pray, how far thither ? 
'Ods pittikins ! can it be six mile yet ? — 
I have gone all night. Faith, I '11 lie down and sleep. 
But, soft ! no bedfellow ! — O gods and goddesses ! 

\Seeing the body of Cloten. 
These flowers are like the pleasures of the world, 
This bloody man the care on 't. I hope I dream, 
For so I thought I was a cave-keeper. 
And cook to honest creatures ; but 't is not so, 300 

'T was but a bolt of nothing, shot at nothing, 
Which the brain makes of fumes. Our very eyes 
Are sometimes like our judgments, blind. Good faith, 
I tremble still with fear ; but if there be 
Yet left in heaven as small a drop of pity 
As a wren's eye, fear'd gods, a part of it ! 
The dream 's here still ; even when I wake, it is 
Without me, as within me ; not imagin'd, felt. — 
A headless man ! — The garments of Posthumus 1 
I know the shape of 's leg; this is his hand, 310 



ii8 Cymbeline [Act iv 

His foot Mercurial, his Martial thigh, 

The brawns of Hercules ; but his Jovial face — 

Murther in heaven ? — How ! — 'T is gone. — Pisanio, 

All curses madded Hecuba gave the Greeks, 

And mine to boot, be darted on thee ! Thou, 

Conspir'd with that irregulous devil, Cloten, 

Hast here cut off my lord. — To write and read 

Be henceforth treacherous ! — Damn'd Pisanio 

Hath with his forged letters — damn'd Pisanio — 

From this most bravest vessel of the world 320 

Struck the main-top ! — O Posthumus! alas. 

Where is thy head ? where 's that ? Ay me ! where 's that? 

Pisanio might have kill'd thee at the heart, 

And left this head on. — How should this be ? Pisanio ? 

'T is he and Cloten ; malice and lucre in them 

Have laid this woe here. O, 't is pregnant, pregnant 1 

The drug he gave me, which he said was precious 

And cordial to me, have I not found it 

Murtherous to the senses ? That confirms it home ; 

This is Pisanio's deed, and Cloten's. — O ! 330 

Give colour to my pale cheek with thy blood, 

That we the horrider may seem to those 

Which chance to find us ! O, my lord, my lord ! 

[Falls 071 the body. 

Enter Lucius, a Captain and other Officers, and a 

Soothsayer 

Captaift. To them the legions garrison'd in Gallia, 
After your will, have cross'd the sea, attending 



Scene II] 



Cymbeline 



119 



340 



You here at Milford-Haven with your ships ; 
They are in readiness. 

Lucius. But what from Rome ? 

Captain. The senate hath stirr'd up the confiners 
And gentlemen of Italy, most willing spirits, 
That promise noble service ; and they come 
Under the conduct of bold lachimo, 
Sienna's brother. 

Lucius. When expect you them ? 

Captain. With the next benefit o' the wind. 

Lucius. This forwardness 

Makes our hopes fair. Command our present num- 
bers 
Be muster'd ; bid the captains look to 't. — Now, sir, 
What have you dream'd of late of this war's purpose ? 

Soothsayer. Last night the very gods show'd me a 
vision — 
I fast and pray'd for their intelligence — thus : 
I saw Jove's bird, the Roman eagle, wing'd 
From the spongy south to this part of the west. 
There vanish'd in the sunbeams ; which portends 
Unless my sins abuse my divination — 
Success to the Roman host. 

Lucius. Dream often so. 

And never false. — Soft, ho ! what trunk is here 
Without his top ? The ruin speaks that sometime 
It was a worthy building. — How ! a page ! — 
Or dead, or sleeping on him ? But dead rather ; 
For nature doth abhor to make his bed 



jy 



I20 Cymbeline [Act iv 

With the defunct, or sleep upon the dead. — 
Let 's see the boy's face. 

Captain, He 's aUve, my lord. 360 

Lucius. He '11 then instruct us of this body. —Young 
one, 
Inform us of thy fortunes, for it seems 
They crave to be demanded. Who is this 
Thou mak'st thy bloody pillow ? Or who was he 
That, otherwise than noble nature did, 
Hath alter'd that good picture ? What 's thy interest 
In this sad wrack ? How came it ? Who is it ? 
What art thou ? 

Imogen. I am nothing ; or if not, 

Nothing to be were better. This was my master, 
A very valiant Briton and a good, ^ 37o 

That here by mountaineers lies slain. — Alas ! 
There is no more such masters ; I may w^ander 
From east to Occident, cry out for service, 
Try many, all good, serve truly, never 
Find such another master. 

Lucius. 'Lack, good youth ! 

Thou mov'st no less wdth thy complaining than 
Thy master in bleeding. Say his name, good friend. 
Imogen. Richard du Champ. — ^Aside-] If I do lie, 
and do 
No harm by it, though the gods hear, I hope 
They '11 pardon it. — Say you, sir ? 

Lucius. Thy name? 

T Fidele, sir. 

Imogen. ^ ^ ' 



Scene II] Cymbeline 121 

Lucius, Thou dost approve thyself the very same ; 
Thy name well fits thy faith, thy faith thy name. 382 
Wilt take thy chance with me ? I will not say 
Thou shalt be so well mastered, but, be sure, 
No less belov'd. The Roman emperor's letters, 
Sent by a consul to me, should not sooner 
Than thine own worth prefer thee ; go with me. 

Imogen. I '11 follow, sir. But first, an 't please the 
gods, 
I '11 hide my master from the flies, as deep 
As these poor pickaxes can dig ; and when 390 

With wild wood-leaves and weeds I ha' strew 'd his 

grave. 
And on it said a century of prayers, 
Such as I can, twice o'er, I '11 weep and sigh, 
And leaving so his service, follow you. 
So please you entertain me. 

Lucius. Ay, good youth, 

And rather father thee than master thee. — 
My friends, 

The boy hath taught us manly duties : let us 
Find out the prettiest daisied plot we can. 
And make him with our pikes and partisans 400 

A grave ; come, arm him. — Boy, he is preferr'd 
By thee to us, and he shall be interr'd 
As soldiers can. Be cheerful; wipe thine eyes ; 
Some falls are means the happier to arise. \_Exeunt 



122 Cymbellne [Act IV 

Scene III. A room in Cy?nbeline's Palace 
Enter Cymbeline, Lords, Pisanio, and Attendants 

Cymbeline. Again ; and bring me word how 't is with 
her. \_Exit aii Attendant. 

A fever with the absence of her son, 
K madness, of which her Hfe 's in danger. — Heavens, 
How deeply you at once do touch me ! Imogen, 
The great part of my comfort, gone ; my queen 
Upon a desperate bed, and in a time 
When fearful wars point at me ; her son gone. 
So needful for this present ! it strikes me, past 
The hope of comfort. - — But for thee, fellow. 
Who needs must know of her departure and lo 

Dost seem so ignorant, we '11 enforce it from thee 
By a sharp torture. 

Pisanio, Sir, my life is yours, 

I humbly set it at your will ; but, for my mistress, 
I nothing know where she remains, why gone, 
Nor when she purposes return. Beseech your highness. 
Hold me your loyal servant. 

I Lord. Good my liege, 

The day that she was missing he was here ; 
I dare be bound he 's true and shall perform 
All parts of his subjection loyally. For Cloten, 
There wants no diligence in seeking him, 20 

And will, no doubt, be found. 

Cymbeline, The time is troublesome. — 



Scene III] Cvmbeline MJ 

[To Pisanid\ We '11 slip you for a season, but our 

jealousy 
Does yet depend. 

I Lord. So please your majesty, 

The Roman legions, all from Gallia drawn. 
Are landed on your coast, with a supply 
Of Roman gentlemen by the senate sent. 

Cymbeline. Now for the counsel of my son and queen ! 
I am amaz'd with matter. 

I Lo7^d, Good my liege. 

Your preparation can affront no less 
Than what you hear of ; come more, for more you 're 
ready. 30 

The want is but to put those powers in motion 
That long to move. 

CytJibeluie, I thank you. Let 's withdraw, 

And meet the time as it seeks us. We fear not 
What can from Italy annoy us, but 
We grieve at chances here. — Away ! 

\Exeu7it all but Pisa7iio. 

Pisanio. I heard no letter from my master since 
I wrote him Imogen was slain. 'T is strange ; 
Nor hear I from my mistress, who did promise 
To yield me often tidings ; neither know I 
What is betid to Cloten, but remain 40 

Perplex'd in all. The heavens still must work. 
Wherein I am false I am honest ; not true, to be 

true. 
These present wars shall find I love my country, 



M4 Cymbeline [Act IV 

Even to the note o' the king, or I '11 fall in them. 
All other doubts, by time let them be cleared ; 
Fortune brings in some boats that are not steer'd. 

\_Exit. 

Scene IV. Wales : before the Cave of Belarhis 
Enter Belarius, Guiderius, a^z^ Arviragus 

Guideriiis. The noise is round about us. 

Be/ai'ius. Let us from it. 

A?inragHs. What pleasure, sir, find we in life, to lock 
it 
From action and adventure ? 

Guiderius. ^^"ay, what hope 

Have we in hiding us ? This way, the Romans 
Must or for Britons slay us, or receive us 
For barbarous and unnatural revolts 
During their use, and slay us after. 

Belarius. Sons, 

We *11 higher to the mountains, there secure us. 
To the king's party there "s no going ; newness 
Of Cloten's death — we being not known, not mustered 
Among the bands — may drive us to a render n 

Where we have liv'd, and so extort from 's that 
Which we have done, whose answer would be death 
Drawn on with torture. 

Guiderius. That is, sir, a doubt 

In such a time nothing becoming you 
Nor satisfying us. 



Scene IV] Cymbeline 125 

Arviragus. It is not likely 

That when they hear the Roman horses neigh, 
Behold their quarter'd fires, have both their eyes 
And ears so cloy'd importantly as now, 
That they will waste their time upon our note, 20 

To know from whence we are. 

Belarius. O, I am known 

Of many in the army ; many years, 
Though Cloten then but young, you see, not wore him 
From my remembrance. And, besides, the king 
Hath not deserv'd my service nor your loves, 
Who find in my exile the want of breeding. 
The certainty of this hard life ; aye hopeless 
To have the courtesy your cradle promis'd, 
But to be still hot summer's tanlings and 
The shrinking slaves of winter. 

Guiderius. Than be so 30 

Better to cease to be. Pray, sir, to the army : 
I and my brother are not known ; yourself 
So out of thought, and thereto so o'ergrown, 
Cannot be question'd. 

Arviragus. By this sun that shines, 

I '11 thither ! What thing is it that I never 
Did see man die ! scarce ever look'd on blood 
But that of coward hares, hot goats, and venison ! 
Never bestrid a horse, save one that had 
A rider like myself, w^ho ne'er wore rowel 
Nor iron on his heel ! I am asham'd 40 

To look upon the holy sun, to have 



126 Cymbeline [Act IV 

The benefit of his blest beams, remaining 
So long a poor unknown. 

Guiderius, By heavens, I '11 go ! 

If you will bless me, sir, and give me leave, 
I '11 take the better care ; but if you will not. 
The hazard therefore due fall on me by 
The hands of Romans ! 

Arviragus. So say I ; amen ! 

Belarius. No reason I, since of your lives you set 
So slight a valuation, should reserve 
My crack'd one to more care. Have with you, boys ! 
If in your country wars you chance to die, 51 

That is my bed too, lads, and there I '11 lie. 
Lead, lead. — [Aside'] The time seems long ; their blood 

thinks scorn 
Till it fly out and show them princes born. [Exeunt. 




Roman General and Soldiers 



ACT V 



Scene I. Britain, The Ro77ian Camp 

Ente7' PoSTHUMUS, luith a bloody handkerchief 

Posthii77ius. Yea, bloody cloth, I '11 keep thee, for I 
wish'd 
Thou shouldst be coloured thus. You married ones, 
If each of you should take this course, how many 
Must murther wives much better than themselves 
For wr^'ing but a little ! — O Pisanio ! 
Every good servant does not all commands ; 
No bond but to do just ones. — Gods ! if you 

127 



128 Cymbeline [Act v 

Should have ta'en vengeance on my faults, I never 

Had liv'd to put on this ; so had you sav'd 

The noble Imogen to repent, and struck lo 

Me, wretch more worth your vengeance. But, alack ! 

You snatch some hence for little faults ; that 's love. 

To have them fall no more. You some permit 

To second ills with ills, each elder worse. 

And make them dread it, to the doers' thrift. 

But Imogen is your own ; do your best wills. 

And make me blest to obey ! I am brought hither 

Among the Italian gentry, and to fight 

Against my lady's kingdom. 'T is enough 

That, Britain, I have kill'd thy mistress ; peace ! 20 

I '11 give no wound to thee. — Therefore, good heavens. 

Hear patiently my purpose. I '11 disrobe me 

Of these Italian weeds and suit myself 

As does a Briton peasant. So I '11 fight 

Against the part I come with ; so I '11 die 

For thee, O Imogen, even for whom my life 

Is every breath a death ; and thus, unknown, 

Pitied nor hated, to the face of peril 

Myself I '11 dedicate. Let me make men know 

More valour in me than my habits show. — 30 

Gods, put the strength o' the Leonati in me ! — 

To shame the guise o' the world, I will begin 

The fashion, less without and more within. \_Exit, 



Scene II] Cymbeline 129 

Scene II. Field of battle between the British and Roman 

Camps 

Enter ^fy^om one side, Lucius, Iachimo, and the Roman 
Army; fro7n the other side, the British Army; Leona- 
Tus PosTHUMUS following, like a poor soldier. They 
ma?rh over and go out. The?i enter again, in skir- 
7?tish, Iachimo and Posthumus ; he vanquisheth and 
disarmeth Iacpiimo, and then leaves Imn 

lachijno. The heaviness and guilt within my bosom 
Takes off my manhood. I have behed a lady, 
The princess of this country, and the air on 't 
Revengingly enfeebles me ; or could this carl, 
A very drudge of nature's, have subdued me 
In my profession ? Knighthoods and honours, borne 
As I wear mine, are titles but of scorn. 
If that thy gentr}^, Britain, go before 
This lout as he exceeds our lords, the odds 9 

Is that we scarce are men and you are gods. \^Exit. 

Vie battle continues; the Britons fly ; Cymbeline is 
taken : then enter ^ to his rescue, Belarius, Guiderius, 
and Arviragus 

Belarius. Stand, stand ! We have the advantage of 
the ground. 
The lane is guarded ; nothing routs us but 
The villany of our fears. 

^ . ' \ Stand, stand, and fight ! 

Annragus. ) 

CYMBELINE — 9 



1 



K'sO 



C\ lubcliiio [Act V 



Cymiu.i.ink, ii«*/ f*Ar////A 7'/'^/' re-^nUr Lucius ciW 
IvruiMO. rr//^ Imocf.n 

Lucius, A\\av. bo\ , from the troops, and save thv- 
solf; 
For friends kill friends, and the disorder s such 
As war were hoodwinkVi. 

Lu'hiniiK "I' i^^ their fresh suppHes. 

Ltdcius. It is a day turned strangely ; or betimes 
Let \s reinforce, or tiy. [Exaittt, 

Scene IIL Another Part of the Field 
Enter PosrurMVS anJ ii British Lord 
Loni. Cam^st thou from where they made the stand ? 

P0SfhUffU4S, ^ ^^^^1' 

Though YOU, it seems, come from the fliers. 

Lont ' I did. 

Ptfsthumus. No blame be to you, sir, for all was lost 
But that the heavens fought. Vhe king himself 
Of his wings destitute, the army broken. 
And but the backs of Britons seen, all tlying 
Through a strait lane ; the enemy full-hearted, 
Lolling the tongue with slaughtering, having work 
M:ore plentiful than tools to do 't, struck down 
Some mortally, some slightly touched, some falling lo 
Merely through fear : that tlie strait pass was damm'd 



1 



Scene III] Cvmbeline 131 

With dead men hurt behind, and cowards living 
To die with lengthen *d shame. 

Lord. Where was this lane ? 

Posthuynus. Close by the battle, xlitch'd, and wall'd 

with turf ; 
Which gave advantage to an ancient soldier, — • 
An honest one, I warrant, — who deserv'd 
So long a breeding as his white beard came to. 
In doing this for 's country. Athwart the lane, 
He, with two striplings, — lads more hke to run 
The country base than to commit such slaughter, 20 
With faces fit for masks, or rather fairer 
Than those for preservation cas'd or shame, — 
Made good the passage, cried to those that tied, 
' Our Britain's harts die flying, not our men ; 
To darkness fleet souls that fly backwards. Stand ! 
Or w^e are Romans and wall give you that 
Like beasts w^hich you shun beastly, and may save 
But to look back in frown; stand, stand!' — These 

three, 
Three thousand confident, in act as many — 
For three performers are the file when all 30 

The rest do nothing — with this word ' Stand, stand,' 
Accommodated by the place, more charming 
With their own nobleness, which could have turn'd 
A distaff to a lance, gilded pale looks, 
Part shame, part spirit renew'd ; that some, turn'd 

cow^ard 
But by example — O, a sin in war, 



132 Cymbeline [Act V 

Damn'd in the first beginners ! — gan to look 

The way that they did, and to grin hke hons 

Upon the pikes o' the hunters. Then began 

A stop i' the chaser, a retire, anon 40 

A rout, confusion thick ; forthwith they fly 

Chickens, the way which they stoop'd eagles ; slaves. 

The strides they victors made. And now our cowards, 

Like fragments in hard voyages, became 

The life o' the need ; having found the back-door open 

Of the unguarded hearts, heavens, how they wound ! 

Some slain before, some dying, some their friends 

O'er-borne i' the former wave ; ten, chas'd by one. 

Are now each one the slaughter-man of twenty ; 

Those that would die or ere resist are grown 50 

The mortal bugs o' the field. 

Lord, This was strange chance, — 

A narrow lane, an old man, and two boys. 

Posthu77ius, Nay, do not wonder at it ; you are made 
Rather to wonder at the things you hear 
Than to work any. Will you rhyme upon 't, 
And vent it for a mockery ? Here is one : 
^ Two boys, an old man twice a boy, a lane, 
Preserv'd the Britons, was the Romans' bane.' 

Lord, Nay, be not angry, sir. 

Posthumus. 'Lack, to what end ? 

Who dares not stand his foe, I '11 be his friend ; 60 

For if he '11 do as he is made to do, 
I know he '11 quickly fly my friendship too. 
You have put me into rhyme. 



Scene III] Cymbeline 133 

Lord. Farewell ; you Ve angry. 

Posthinnus, Still going ? — \Exit Lord.'] This is a 
lord ! O noble misery, 
To be i' the field, and ask ' what news ? ' of me ! 
To-day how many would have given their honours 
To have sav'd their carcases ! took heel to do 't, 
And yet died too ! I, in mine own woe charm 'd, 
Could not find death where I did hear him groan, 
Nor feel him where he struck. Being an ugly mon- 
ster, 70 
'T is strange he hides him in fresh cups, soft beds. 
Sweet words, or hath moe ministers than we 
That draw his knives i' the war. Well, I will find him ; 
For being now a favourer to the Briton, 
No more a Briton, I have resumed again 
The part I came in. Fight I will no more, 
But yield me to the veriest hind that shall 
Once touch my shoulder. Great the slaughter is 
Here made by the Roman ; great the answer be 
Britons must take. For me, my ransom 's death ; 80 
On either side I come to spend my breath, 
Which neither here I '11 keep nor bear again. 
But end it by some means for Imogen. 

Eiiter two British Captains aiid Soldiers 

1 Captain. Great Jupiter be prais'd 1 Lucius is taken. 
'T is thought the old man and his sons were angels. 

2 Captain. There was a fourth man, in a silly habit, 
That gave the affront with them. 



134 Cymbeline [Act V 

1 Captain, So 't is reported ; 
But none of 'em can be found. — Stand ! who 's there ? 

PostJuunus, A Roman, 
Who had not now been drooping here if seconds 90 

Had answer'd him. 

2 Captain. Lay hands on him ; a dog ! 
A leg of Rome shall not return to tell 

What crows have peck'd them here. He brags his 

service 
As if he were of note. Bring him to the king. 

Enter Cymbeline, Belarius, Guiderius, Arviragus, 
PiSANio, Soldiers, Attendants, a7id Roman Captives. 
The Captains pi'esent Posthumus to Cymbeline, who 
delivers hint over to a Gaoler ; then exeimt o?nnes 

Scene IV. A British Prison 
Enter Posthumus and two Gaolers 

1 Gaoler. You shall not now be stolen, you have 

locks upon you ; 
So graze as you find pasture. 

2 Gaoler, Ay, or a stomach. 

[^Exeunt Gaolers. 
Posthumus. Most welcome, bondage ! for thou art 
a way, 
I think, to liberty ; yet am I better 
Than one that 's sick o' the gout, since he had rather 
Groan so in perpetuity than be cur'd 
By the sure physician, death, who is the key 



Scene IV] Cymbeline 135 

To unbar these locks. My conscience, thou art fetter'd 
More than my shanks and wrists ; you good gods, give 

me 
The penitent instrument to pick that bolt, 10 

Then, free for ever ! Is 't enough I am sorry ? 
So children temporal fathers do appease ; 
Gods are more full of mercy. Must I repent ? 
I cannot do it better than in gyves, 
Desir'd more than constrain 'd ; to satisfy. 
If of my freedom 't is the main part, take 
No stricter render of me than my all. 
I know you are more clement than vile men, 
Who of their broken debtors take a third, 
A sixth, a tenth, letting them thrive again 20 

On their abatement ; that 's not my desire. 
For Imogen's dear life take mine ; and though 
'T is not so dear, yet 't is a life, you coin'd it. 
'Tween man and man they weigh not every stamp, I 
Though light, take pieces for the figure's sake ; 
You rather mine, being yours ; and so, great powers, 
If you will take this audit, take this life 
And cancel these cold bonds. — O Imogen ! 
I '11 speak to thee in silence. \Sleeps, 

Solemn music, Entei% as ifi an apparition^ SiciLius 
Leonatus, father to Posthumus, an old ma?t, attired 
like a warrior ; leading in his ha^id an aiicient mati'on^ 
his wife, and mother to Posthumtis^ with micsic before 
them : then, after other music ^ follow the two young 



136 



Cymbeline 



[Act V 



Leonati, b^'others to Posthtunics^ with wotmds as they 
died in the wars. They circle Posthumus i^ound as he 
lies sleeping 



Siciliics. No more, thou thunder-master, show 

Thy spite on mortal flies ; 
With Mars fall out, with Juno chide, 

That thy adulteries 
Rates and revenges. 
Hath my poor boy done aught but well, 

Whose face I never saw ? 
I died whilst in the womb he stay'd 

Attending nature's law ; 
Whose father then — as men report 

Thou orphans' father art — 
Thou shouldst have been, and shielded him 

From this earth-vexing smart. 

Mother. Lucina lent not me her aid, 
But took me in my throes ; 
That from me was Posthumus ript, 
Came crying 'mongst his foes, 
A thing of pity ! 

Sicilius. Great nature, like his ancestry, 
Moulded the stuff so fair 
That he deserv'd the praise o' the world. 
As great Sicilius' heir. 

I Brother, When once he was mature for man, 
In Britain where was he 



3" 



40 



50 



, 



Scene IV] Cymbeline 137 

That could stand up his parallel, 

Or fruitful object be 
In eye of Imogen, that best 

Could deem his dignity ? 

Mother. ^ With marriage wherefore was he mock'd, 
To be exil'd, and thrown 
From Leonati seat, and cast 60 

From her his dearest one, 
Sweet Imogen ? 

Siciliics, Why did you suffer lachimo, 

Slight thing of Italy, 
To taint his nobler heart and brain 

With needless jealousy ; 
And to become the geek and scorn 

O' the other's villany? 

2 Brother. For this from stiller seats we came, 

Our parents and us twain, 70 

That striking in our country's cause 
Fell bravely and were slain. 

Our fealty and Tenantius' right 
With honour to maintain. 

I Brother. Like hardiment Posthumus hath 

To Cymbeline perform 'd ; 
Then, Jupiter, thou king of gods, 

Why hast thou thus adjourn'd 
The graces for his merits due, 

Being all to dolours turn'd ? 80 



138 



Cymbeline 



[Act V 



Sicilius, Thy crystal window ope, look out ; 
No longer exercise 
Upon a valiant race thy harsh 
And potent injuries. 

Mother. Since, Jupiter, our son is good, 
Take off his miseries. 

Sicilius. Peep through thy marble mansion ; help ! 

Or we poor ghosts will cry 

To the shining synod of the rest 

Against thy deity. 90 

Both Brothers. Help, Jupiter ; or we appeal, 
And from thy justice fly. 



Jupiter descends in thunder and lightnings sitting upon 
an eagle ; he throws a thunderbolt. The Ghosts fall 
on their knees 

Jupiter. No more, you petty spirits of region low, 

Offend our hearing ; hush ! — How dare you ghosts 
Accuse the thunderer, whose bolt, you know, 

Sky-planted, batters all rebelling coasts ? 
Poor shadows of Elysium, hence, and rest 

Upon your never-withering banks of flowers : 
Be not with mortal accidents opprest ; 

No care of yours it is ; you know 't is ours. 100 

Whon best I love I cross ; to make my gift. 

The more delay'd, delighted. Be content ; 



Scene IV] Cymbeline 139 

Your low-laid son our godhead will uplift : 

His comforts thrive, his trials well are spent 
Our Jovial star reign'd at his birth, and in 

Our temple was he married. Rise, and fade. 
He shall be lord of lady Imogen, 

And happier much by his affliction made. 
This tablet lay upon his breast, wherein 

Our pleasure his full fortune doth confine ; no 

And so, away ! no further with your din 

Express impatience, lest you stir up mine. — 

Mount, eagle, to my palace crystalline. [Ascen^/s. 

Sicilius, He came in thunder, his celestial breath 
Was sulphurous to smell ; the holy eagle 
Stoop'd, as to foot us. His ascension is 
More sweet than our blest fields ; his royal bird 
Prunes the immortal wing and cloys his beak, 
As when his god is pleased. 

All. Thanks, Jupiter ! 

Sicilius. The marble pavement closes, he is enter'd 
His radiant roof. — Away! and, to be blest, 121 

Let us with care perform his great behest. 

\_The Ghosts vanish, 

Posthumus. [ Waking] Sleep, thou hast been a grand- 
sire, and begot 
A father to me ; and thou hast created 
A mother and two brothers. But, O scorn ! 
Gone ! they went hence so soon as they were born ; 
And so I am awake. — Poor wretches that depend 
On greatness' favour dream as I have done, 



140 Cymbeline [Act v 

Wake and find nothing. — But, alas, I swerve : 

Many dream not to find, neither deserve, 130 

And yet are steep'd in favours ; so am I, 

That have this golden chance and know not why. 

What fairies haunt this ground ? A book ? O rare 

one ! 
Be not, as is our fangled world, a garment 
Nobler than that it covers ; let thy effects 
So follow, to be most unlike our courtiers. 
As good as promise. 

[Reads] ' Whenas a liori's whelp shall ^ to himself 
tmkiiowfi^ without seeki7ig find, and be embraced by a 
piece of tender air ; and when fi'om a stately cedar shall 
be lopped branches which, being dead many years, shall 
after revive^ be jointed to the old stock, and freshly grow ; 
then shall PostJncmiis end his miseries, Britai7i be for- 
tunate and flourish in peace and plenty!' 144 
'T is still a dream, or else such stuff as madmen 
Tongue and brain not ; either both or nothing ; 
Or senseless speaking or a speaking such 
As sense cannot untie. Be what it is, 
The action of my life is like it, which 
I '11 keep, if but for sympathy. 150 

Re-enter Gaolers 

I Gaoler. Come, sir, are you ready for death ? 
Posthumus, Over-roasted rather ; ready long ago, 
I Gaoler. Hanging is the word, sir ; if you be 
ready for that, you are well cooke'd. 



Scene IV] Cymbeline 141 

Posthumus. So, if I prove a good repast to the 
spectators, the dish pays the shot. 

I Gaoler. A heavy reckoning for you, sir. But the 
comfort is, you shall be called to no more payments, 
fear no more tavern-bills, which are often the sadness 
of parting, as the procuring of mirth. You come in 
faint for want of meat, depart reeling with too much 
drink ; sorry that you have paid too much, and sorry 
that you are paid too much ; purse and brain both 
empty ; the brain the heavier for being too light, the 
purse too light, being drawn of heaviness ; of this 
contradiction you shall now be quit. O, the charity 
of a penny cord ! it sums up thousands in a trice : 
you have no true debitor and creditor but it ; of 
what 's past, is, and to come, the discharge. — Your 
neck, sir, is pen, book, and counters ; so the acquit- 
tance follows. 171 

Posthumus. I am merrier to die than thou art to 
live. 

I Gaoler, Indeed, sir, he that sleeps feels not the 
toothache ; but a man that were to sleep your sleep, 
and a hangman to help him to bed, I think he would 
change places with his officer, for, look you, sir, you 
know not which way you shall go. 

Posthumus, Yes, indeed do I, fellow. 179 

I Gaoler. Your death has eyes in 's head then ; I 
have not seen him so pictured. You must either be 
directed by some that take upon them to know, or 
take upon yourself that which I am sure you do not 



142 Cymbeline [Act v 

know, or jump the after inquiry on your own peril ; 
and how you shall speed in your journey's end, I 
think you '11 never return to tell one. 

Fosthumus. I tell thee, fellow, there are none want 
eyes to direct them the way I am going but such 
as wink and will not use them. 189 

I Gaoler, What an infinite mock is this, that a 
man should have the best use of eyes to see the 
way of blindness 1 I am sure hanging 's the way 
of winking. 

Enter a Messenger 

Messenger, Knock off his manacles ; bring your 
prisoner to the king. 

Posthunius. Thou bring'st good news ; I am called 
to be made free. 

I Gaoler. I '11 be hanged then. 198 

Posthmniis, Thou shalt be then freer than a 
gaoler; no bolts for the dead. \^Exeunt all but i Gaoler, 

I Gaoler. Unless a man would marry a gallows 
and beget young gibbets, I never saw one so prone. 
Yet, on my conscience, there are verier knaves de- 
sire to live, for all he be a Roman ; and there be 
some of them too that die against their wills ; so 
should I, if I were one. I would we were all of one 
mind, and one mind good. O, there were desolation 
of gaolers and gallowses ! I speak against my pres- 
ent profit, but my wish hath a preferment in 't. {Exit. 



Scene V] Cymbeline 143 



Scene V. Cymbeline^s Tent 

Enter Cymbeline, Belarius, Guiderius, Arviragus, 
PiSANio, Lords, Officers, and Attendants 

Cymbeline. Stand by my side, you whom the gods 
have made 
Preservers of my throne. Woe is my heart 
That the poor soldier that so richly fought. 
Whose rags sham'd gilded arms, whose naked breast 
Stepp'd before targes of proof, cannot be found. 
He shall be happy that can find him, if 
Our grace can make him so. 

Belarius. I never saw 

Such noble fury in so poor a thing. 
Such precious deeds in one that promis'd nought 
But beggary and poor looks. 

Cymbeline, No tidings of him ? 10 

Fisanio. He hath been search 'd among the dead 
and living. 
But no trace of him. 

Cymbeline. To my grief, I am 

The heir of his reward, — \_To Belarius, Guiderius, and 

Arviragus~\ which I will add 
To you, the liver, heart, and brain of Britain, 
By whom I grant she lives. 'T is now the time 
To ask of whence you are. Report it. 

Belarius. Sir, 

In Cambria are we born, and gentlemen ; 



144 Cymbeline [Act V ] 

Further to boast were neither true nor modest, 
Unless I add we are honest. '; 

Cymbeline. Bow your knees. : 

Arise my knights o' the battle ; I create you 20 

Companions to our person, and will fit you 
With dignities becoming your estates. — 

Enter Cornelius and Ladies 

There 's business in these faces. — Why so sadly 
Greet you our victory ? you look like Romans, 
And not o' the court of Britain. 

Coriielius. Hail, great king ! 

To sour your happiness, I must report 
The queen is dead. 

Cymbelifie, Who worse than a physician 

Would this report become ? But I consider, 
By medicine life may be prolong'd, yet death 
Will seize the doctor too. — How ended she ? 30 

Corjielms, With horror, madly dying, like her life. 
Which, being cruel to the world, concluded 
Most cruel to herself. What she confess 'd 
I will report, so please you ; these her women 
Can trip me, if I err, who with wet cheeks 
Were present when she finish'd. 

Cymbeline. Prithee, say. 

Cornelius. First, she confess 'd she never lov'd you, 
only 
Affected greatness got by you, not you. 
Married your royalty, was wife to your place, 



Scene V] Cymbeline 145 

Abhorr'd your person. 

Cyfnbeline. She alone knew this ; 40 

And, but she spoke it dying, I would not 
Believe her lips in opening it. Proceed. 

Cornelius. Your daughter, whom she bore in hand 
to love 

With such integrity, she did confess 
Was as a scorpion to her sight, whose life, 
But that her flight prevented it, she had 
Ta'en off by poison. 

Cymbeline, O most delicate fiend ! 

Who is 't can read a woman ? — Is there more ? 

Cornelius. More, sir, and worse. She did confess 
she had 

For you a mortal mineral, which, being took, 50 

Should by the minute feed on life and lingering 
By inches waste you, in which time she purpos'd, 
By watching, w^eeping, tendance, kissing, to 
O'ercome you with her show, and in time. 
When she had fitted you with her craft, to work 
Her son into the adoption of the crown ; 
But, failing of her end by his strange absence. 
Grew shameless-desperate, open'd in despite 
Of heaven and men her purposes, repented 
The evils she hatch 'd were not effected, so 60 

Despairing died. 

Cymbeline, Heard you all this, her women ? 

I Lady. We did, so please your highness. 

Cymbeli?ie. Mine eyes 

CYMBELINE — lO 



1^6 Cymbeline [Act v 

Were not in fault, for she was beautiful ; 

Mine ears, that heard her flattery, nor my heart, 

That thought her like her seeming. It had been vicious 

To have mistrusted her ; yet, O my daughter 1 

That it was folly in me, thou mayst say. 

And prove it in thy feeling. Heaven mend all ! — 

Enter Lucius, Iachimo, the Soothsayer, and other 
Roman prisoners, guarded; Posthumus behmd, and 
Imogen 

Thou com'st not, Caius, now for tribute ; that 
The Britons have raz'd out, though with the loss 70 

Of many a bold one, whose kinsmen have made suit 
That their good souls may be appeas'd with slaughter 
Of you their captives, which ourself have granted. 
So think of your estate. 

Lucius, Consider, sir, the chance of war : the day 
Was yours by accident ; had it gone with us. 
We should not, when the blood was cool, have threaten 'd 
Our prisoners with the sword. But since the gods 
Will have it thus, that nothing but our lives 
May be call'd ransom, let it come ; sufficeth 80 

A Roman with a Roman's heart can suffer. 
Augustus lives to think on 't ; and so much 
For my peculiar care. This one thing only 
I will entreat : my boy, a Briton born. 
Let him be ransomed ; never master had 
A page so kind, so duteous, diligent, 
So tender over his occasions, true. 



Scene V] Cymbeline 147 

So feat, so nurse-like. Let his virtue join 
With my request, which I '11 make bold your highness 
Cannot deny ; he hath done no Briton harm, 90 

Though he have serv'd a Roman. Save him, sir, 
And spare no blood beside. 

Cymbeline, I have surely seen him ; 

His favour is familiar to me. — Boy, 
Thou hast look'd thyself into my grace, 
And art mine own. I know not why nor wherefore 
To say live, boy, — ne'er thank thy master, — live. 
And ask of Cymbeline what boon thou wilt. 
Fitting my bounty and thy state, I '11 give it ; 
Yea, though thou do demand a prisoner. 
The noblest ta'en. 

Imogen, I humbly thank your highness. 100 

Lucms. I do not bid thee beg my life, good lad ; 
And yet I know thou wilt. 

Imogen. No, no : alack. 

There 's other work in hand. — I see a thing 
Bitter to me as death. — Your life, good master. 
Must shuffle for itself. 

Lucius, The boy disdains me, 

He leaves me, scorns me ; briefly die their joys 
That place them on the truth of girls and boys. — 
Why stands he so perplex'd ? 

Cymbeline, What wouldst thou, boy ? 

I love thee more and more ; think more and more 
What 's best to ask. Know'st him thou look'st on ? speak. 
Wilt have him live ? Is he thy kin ? thy friend ? m 



148 Cymbeline [Act V 

Lnogen. He is a Roman ; no more kin to me 
Than I to your highness, who, being born your vassal, 
Am something nearer. 

Cymbeli7ie. Wherefore eyest him so ? 

Lnoge?i. I '11 tell you, sir, in private, if you please 
To give me hearing. 

Cymbeline. Ay, with all my heart, 

And lend my best attention. What 's thy name ? 

Imogeji. Fidele, sir. 

Cy??tbeli?ie. Thou 'rt my good youth, my page ; 

I '11 be thy master. Walk with me ; speak freely. 

\^Cymbeline and Imogen cofiverse apa?^t. 

Belarius. Is not this boy reviv'd from death ? 

Arviragiis. One sand another 

Not more resembles that sweet rosy lad 121 

Who died, and was Fidele. — What think you? 

Gtnderiiis. The same dead thing alive. 

Belarius. Peace, peace ! see further ; he eyes us not ; 
forbear. 
Creatures may be alike ; were 't he, I am sure 
He would have spoke to us. 

Guiderius, But we saw him dead. 

Belarius. Be silent ; let 's see further. 

Pisanio. \^Aside'\ It is my mistress ! 

Since she is living, let the time run on 
To good or bad. \^Cymbeline a?id Lnogen co7ne forward. 

Cymbeli?ie. Come, stand thou by our side ; 

Make thy demand aloud. — [^To Iachi??w'] Sir, step you 
forth ; 130 



Scene V] Cymbeline 149 

Give answer to this boy, and do it freely, 

Or, by our greatness and the grace of it, 

Which is our honour, bitter torture shall 

Winnow the truth from falsehood. — On, speak to him. 

Imogen, My boon is, that this gentleman may render 
Of whom he had this ring. 

Posthii77itis. \^Aside\ What 's that to him ? 

Cymbeline. That diamond upon your finger, say 
How came it yours ? 

lachimo. Thou 'It torture me to leave unspoken that 
Which, to be spoke, would torture thee. 

Cymbeline. How ! me ? 

lachimo, I am glad to be constrain 'd to utter that 
Which torments me to conceal. By villany 142 

I got this ring ; 't was Leonatus' jewel, 
Whom thou didst banish; and — w^hich more may 

grieve thee. 
As it doth me — a nobler sir ne'er liv'd 
'Twixt sky and ground. W^ilt thou hear more, my lord ? 

Cymbeline, All that belongs to this. 

lachimo. That paragon, thy daughter, — 

For whom my heart drops blood, and my false spirits 
Quail to remember — Give me leave ; I faint. 

Cy??ibeline. My daughter ! what of her ? Renew thy 
strength ; 150 

I had rather thou shouldst live w^hile nature will 
Than die ere I hear more. Strive, man, and speak. 

lachitno. Upon a time, — unhappy was the clock 
That struck the hour ! — it was in Rome, - — accurs'd 



150 Cymbeline [Act V 

The mansion where ! — 't was at a feast, — O, would 

Our viands had been poison 'd, or at least 

Those which I heav'd to head ! — the good Posthumus — 

What should I say ? he was too good to be 

Where ill men were, and was the best of all 

Amongst the rar'st of good ones, — sitting sadly, i6o 

Hearing us praise our loves of Italy 

For beauty that made barren the swell'd boast 

Of him that best could speak ; for feature, laming 

The shrine of Venus or straight-pight Minerva, 

Postures beyond brief nature ; for condition, 

A shop of all the qualities that man 

Loves woman for, besides that hook of wiving, 

Fairness which strikes the eye — 

Cymbeline, I stand on fire ; 

Come to the matter. 

lachimo. All too soon I shall. 

Unless thou wouldst grieve quickly. This Posthumus, 
Most like a noble lord in love and one 171 

That had a royal lover, took his hint. 
And, not dispraising whom he prais'd, — therein 
He was as calm as virtue, — he began 
His mistress' picture, which by his tongue being made 
And then a mind put in 't, either our brags 
Were crack'd of kitchen -trulls or his description 
Prov'd us unspeaking sots. 

Cymbeline, Nay, nay, to the purpose. 

lachinio. Your daughter's chastity — there it begins. 
He spake of her, as Dian had hot dreams iSo 



Scene V] Cymbeline 151 

And she alone were cold ; whereat I, wretch, 

Made scruple of his praise, and wager'd with him 

Pieces of gold 'gainst this which then he wore 

Upon his honour'd finger, to attain 

In suit the place of 's bed and win this ring 

By hers and mine adultery. He, true knight, 

No lesser of her honour confident 

Than I did truly find her, stakes this ring, 

And would so, had it been a carbuncle 

Of Phoebus' wheel, and might so safely, had it 190 

Been all the worth of 's car. Away to Britain 

Post I in this design ; well may you, sir. 

Remember me at court, where I was taught 

Of your chaste daughter the wide difference 

'Twixt amorous and villanous. Being thus quench 'd 

Of hope, not longing, mine Italian brain 

Gan in your duller Britain operate 

Most vilely, — for my vantage, excellent, — 

And, to be brief, my practice so prevail'd 

That I return 'd with simular proof enough 200 

To make the noble Leonatus mad, 

By wounding his belief in her renown 

With tokens thus, and thus ; averring notes 

Of chamber-hanging, pictures, this her bracelet, — 

cunning, how I got it ! — nay, some marks 
Of secret on her person, that he could not 
But think her bond of chastity quite crack'd, 

1 having ta'en the forfeit. Whereupon — 
Methinks, I see him now — 



152 Cymbeline [Act v 

Posthumus. \^Advancing~\ Ay, so thou dost, 
Italian fiend ! — Ay me, most credulous fool, 210 

Egregious murtherer, thief, any thing 
That 's due to all the villains past, in being. 
To come ! — O, give me cord, or knife, or poison, 
Some upright justicer ! Thou, king, send out 
For torturers ingenious ; it is I 
That all the abhorred things o' the earth amend 
By being worse than they. I am Posthumus, 
That kill'd thy daughter ; — villain-like, I lie — 
That caus'd a lesser villain than myself, 
A sacrilegious thief, to do 't. The temple 220 

Of virtue was she, — yea, and she herself. 
Spit, and throw stones, cast mire upon me, set 
The dogs o' the street to bay me ; every villain 
Be call'd Posthumus Leonatus, and 
Be villany less than 't was ! — O Imogen ! 
My queen, my life, my wife ! O Imogen, 
Imogen, Imogen ! 

Imogen, Peace, my lord ; hear, hear — 

Posthumus. Shall 's have a play of this? Thou 
scornful page. 
There lie thy part. \_Striking her : she falls. 

Pisanio, O, gentlemen, help ! 

Mine and your mistress ! — O, my lord Posthumus ! 
You ne'er kill'd Imogen till now. — Help, help ! 231 

Mine honour'd lady ! 

Cymbeline. Does the world go round ? 

Posthumm. How comes these staggers on me ? 



Scene V] Cymbeline 153 

Fisanio. Wake, my mistress ! 

Cy^nbeline. If this be so, the gods do mean to strike 
me 
To death with mortal joy. 

Pisanio. How fares my mistress ? 

Imogen, O, get thee from my sight ; 
Thou gav'st me poison. Dangerous fellow, hence ! 
Breathe not where princes are. 

Cymbeline. The tune of Imogen 1 

Pisanio. Lady, 
The gods throw stones of sulphur on me if 240 

That box I gave you was not thought by me 
A precious thing; I had it from the queen. 

Cymbeline. New matter still ? 

Imogen. It poison 'd me. 

Cornelius. O gods ! 

I left out one thing which the queen confess'd. 
Which must approve thee honest: ^ If Pisanio 
Have,' said she, ' given his mistress that confection 
Which I gave him for cordial, she is serv'd 
As I would serve a rat.' 

Cymbeline. What 's this, Cornelius ? 

Cor?ielius, The queen, sir, very oft importun'd me 
To temper poisons for her, still pretending 250 

The satisfaction of her knowledge only 
In killing creatures vile, as cats and dogs, 
Of no esteem. I, dreading that her purpose 
Was of more danger, did compound for her 
A certain stuff which, being ta'en, would cease 



154 Cymbeline [Act V 

The present power of life, but in short time 

All offices of nature should again 

Do their due functions. — Have you ta'en of it ? 

Imoge?!. Most like I did, for I was dead. 

Belarius, My boys, 

There was our error. 

Giiidefius, This is, sure, Fidele. 260 

Imogen, Why did you throw your wedded lady from 
you? 
Think that you are upon a rock, and now 
Throw me again. \Embracing him, 

Posthiimus, Hang there like fruit, my soul, 

Till the tree die ! 

Cymbeline. How^ now, my flesh, my child ! 

What, mak'st thou me a dullard in this act ? 
Wilt thou not speak to me ? 

Imogen. \_Kneeling\ Your blessing, sir. 

Belariiis. [To Guiderius and Arviragics\ Though you 
did love this youth, I blame ye not ; 
You had a motive for 't. 

Cymbeline. My tears that fall 

Prove holy water on thee ! Imogen, 
Thy mother's dead. 

Imogen. I am sorry for 't, my lord. 270 

Cynibeline. O, she was naught, and long of her it was 
That we meet here so strangely ; but her son 
Is gone, w^e know not how nor where. 

Pisanio. My lord. 

Now fear is from me, I '11 speak troth. Lord Cloten, 



Scene V] Cymbeline I55 

Upon my lady's missing, came to me 

With his sword drawn, foam'd at the mouth, and swore, 

If I discover'd not which way she was gone, 

It was my instant death. By accident, 

I had a feigned letter of my master's 

Then in my pocket, which directed him 280 

To seek her on the mountains near to Milford ; 

Where, in a frenzy, in my master's garments, 

Which he enforced from me, away he posts 

With unchaste purpose and with oath to violate 

My lady's honour. What became of him 

I further know not. 

Guidej'ius. Let me end the story ; 

I slew him there. 

Cymbeline, Marry, the gods forfend ! 

I would not thy good deeds should from my lips 
Pluck a hard sentence ; prithee, valiant youth. 
Deny 't again. 

Guidej'ius, I have spoke it, and I did it. 290 

Cymbeline, He was a prince. 

Ginderius. A most incivil one; the wrongs he did me 
Were nothing prince-like, for he did provoke me 
With language that would make me spurn the sea, 
If it could so roar to me. I cut off 's head. 
And am right glad he is not standing here 
To tell this tale of mine. 

Cymbeline. I am sorry for thee. 

By thine own tongue thou art condemn 'd, and must 
Endure our law ; thou 'rt dead. 



156 Cymbeline [Act V 

Imogen. That headless man 

I thought had been my lord. 

Cymbeline. Bind the offender, 300 

And take him from our presence. 

Belaritis, Stay, sir king ! 

This man is better than the man he slew. 
As well descended as thyself, and hath 
More of thee merited than a band of Clotens 
Had ever scar for. — \To the Gna7'd'\ Let his arms 

alone ; 
They were not born for bondage. 

Cymbeline. Why, old soldier. 

Wilt thou undo the worth thou art unpaid for, 
By tasting of our wrath ? How of descent 
As good as we ? 

Arviragus, In that he spake too far. 

Cy7nbeline. And thou shalt die for 't. 

Belariics. We will die all three 

But I will prove that two on 's are as good 311 

As I have given out him. — My sons, I must. 
For mine own part, unfold a dangerous speech, 
Though, haply, well for you. 

Ai'viragus. Your danger 's ours. 

Guideiiiis. And our good his. 

Belaritis, Have at it then, by leave. — 

Thou hadst, great king, a subject who 
W^as call'd Belarius. 

Cymbeline. W^hat of him ? he is 

A banish 'd traitor. 



Scene V] Cymbeline 157 

Belarius, , He it is that hath 

Assum'd this age ; indeed a banish 'd man, 
I know not how a traitor. 

Cytnhelirie. Take him hence ; 320 

The whole world shall not save him. 

Belarius, Not too hot ! 

First pay me for the nursing of thy sons ; 
And let it be confiscate all, so soon 
As I have receiv'd it. 

Cymbeline, Nursing of my sons ! 

Belarius, I am too blunt and saucy ; here 's my 
knee. 
Ere I arise, I will prefer my sons ; 
Then spare not the old father. Mighty sir. 
These two young gentlemen, that call me father 
And think they are my sons, are none of mine ; 
They are the issue of your loins, my liege, 330 

And blood of your begetting. 

Cymbeline. How ! my issue ! 

Belarius, So sure as you your father's. I, old 
Morgan, 
Am that Belarius whom you sometime banish'd. 
Your pleasure was my mere offence, my punishment 
Itself, and all my treason ; that I suffer 'd 
Was all the harm I did. These gentle princes — 
For such and so they are — these twenty years 
Have I train'd up ; those arts they have as I 
Could put into them ; my breeding was, sir, as 
Your highness knows. Their nurse, Euriphile, 340 



158 Cymbeline [Act v 

Whom for the theft I wedded, stole these children 

Upon my banishment. I moved her to 't, 

Having receiv'd the punishment before 

For that which I did then ; beaten for loyalty 

Excited me to treason. Their dear loss, 

The more of you 't was felt, the more it shap'd , 

Unto my end of stealing them. But, gracious sir, j 

Here are your sons again ; and I must lose i 

Two of the sweet'st companions in the world. — i 

The benediction of these covering heavens 350 j 

Fall on their heads like dew ! for they are worthy ] 

To inlay heaven with stars. ! 

Cymbeline, Thou weep'st, and speak'st. 

The service that you three have done is more 
Unlike than this thou tell'st. I lost my children; 
If these be they, I know not how to wish 
A pair of worthier sons. 

Belarius, Be pleas 'd awhile. 

This gentleman, whom I call Polydore, 
Most worthy prince, as yours, is true Guiderius. 
This gentleman, my Cadwal, Arviragus, 
Your younger princely son ; he, sir, was lapp'd 360 

In a most curious mantle, wrought by the hand 
Of his queen mother, which for more probation 
I can with ease produce. 

Cymbeline, Guiderius had 

Upon his neck a mole, a sanguine star ; 
It was a mark of wonder. 

JSelarius. This is he, 



Scene V] Cymbeline 159 

Who hath upon him still that natural stamp. 
It was wise nature's end in the donation, 
To be his evidence now. 

Cymbeline, O, what, am I 

A mother to the birth of three ? Ne'er mother 
Rejoic'd deliverance more. — Blest pray you be, 370 
That, after this strange starting from your orbs, 
You may reign in them now ! — O Imogen, 
Thou hast lost by this a kingdom. 

Imogen, No, my lord ; 

I have got two worlds by 't. — O my gentle brothers, 
Have we thus met ? O, never say hereafter 
But I am truest speaker ; you call'd me brother 
When I was but your sister, I you brothers 
When ye were so indeed. 

Cymbeline, Did you e'er meet ? 

Af'viragtis. Ay, my good lord. 

Guideriiis. And at first meeting lov'd, 

Continued so until we thought he died. 380 

Cornelius. By the queen's dram she swallow'd. 

Cymbeline, O rare instinct ! 

When shall I hear all through ? This fierce abridgment 
Hath to it circumstantial branches, which 
Distinction should be rich in. — Where ? how liv'd you ? 
And when came you to serve our Roman captive ? 
How parted with your brothers ? how first met them ? 
Why fled you from the court ? and whither ? These, 
And your three motives to the battle, with 
I know not how much more, should be demanded, 



t6o Cymbeline [Act V 

And all the other by-dependances, 390 

From chance to chance — but nor the time nor place 
Will serve our long inter'gatories. See, 
Posthumus anchors upon Imogen, 
And she, like harmless lightning, throws her eye 
On him, her brothers, me, her master, hitting 
Each object with a joy ; the counterchange 
Is severally in all. Let 's quit this ground. 
And smoke the temple with our sacrifices. — 
\To Belarius'] Thou art my brother ; so we '11 hold thee 
ever. 

Imogen. You are my father too, and did relieve me, 
To see this gracious season. 

Cymbeline, All o'erjoy'd, 401 

Save these in bonds ; let them be joyful too, 
For they shall taste our comfort. 

hnogen. My good master, 

I will yet do you service. 

Lucius. Happy be you ! 

Cy7nl?eline. The forlorn soldier, that so nobly fought, 
He would have well becom'd this place, and grac'd 
The thankings of a king. 

Posthuinus. I am, sir. 

The soldier that did company these three 
In poor beseeming ; 't was a fitment for 
The purpose I then follow'd. — That I was he, 410 

Speak, lachimo ; I had you down and might 
Have made you finish. 

lachimo. [Xnee/ing'] I am down again ; 



Scene V] Cymbeline i6i 

But now my heavy conscience sinks my knee, 

As then your force did. Take that life, beseech you, 

Which I so often owe ; but your ring first, 

And here the bracelet of the truest princess 

That ever swore her faith. 

Posthmnus, Kneel not to me ; 

The power that I have on you is to spare you, 
The malice towards you to forgive you. Live, 
And deal with others better. 

Cymbeline. Nobly doom'd 1 420 

We '11 learn our f reeness of a son-in-law ; 
Pardon 's*the word to all. 

Arviragus, You holp us, sir, 

As you did mean indeed to be our brother ; 
Joy'd are we that you are. 

Posthumus. Your servant, princes. — Good my lord 
of Rome, 
Call forth your soothsayer. As I slept, methought 
Great Jupiter, upon his eagle back'd, 
Appeared to me, with other spritely shows 
Of mine own kindred. When I wak'd, I found 
This label on my bosom, whose containing 430 

Is so from sense in hardness that I can 
Make no collection of it ; let him show 
His skill in the construction. 

Luetics, • Philarmonus ! 

Soothsayer, Here, my good lord. 

Lucius. Read, and declare the meaning. 

Soothsayer. [Reads] ' Whenas a lion's whelp shall , 

CYMBELINE — II 



l62 Cymbeline [Act V 

to Jmnse/f unknown, without seeking find, and be em- 
braced by a piece of tender air ; and when fro7?i a stately 
cedar shall be lopped branches which, beifig dead many 
years, shall after 7'evive, be jointed to the old stock, and 
freshly grow ; then shall Posthumus end his miseries, 
Britain be foi'tunate and flotnish in peace atid plenty.^ 441 
Thou, Leonatus, art the Ron's whelp ; 
The fit and apt construction of thy name, 
Being Leo-natus, doth import so much. — 
[To Cymbeline'] The piece of tender air, thy virtuous 

daughter, 
Which we call ' mollis aer ; ' and ' mollis aer ' 
We term it ' mulier : ' which ' mulier ' I divine 
Is this most constant wife, w^ho, even now, 
Answering the letter of the oracle. 

Unknown to you, unsought, were clipp'd about 450 

With this most tender air. 

Cymbeline, This hath some seeming. 

Soothsayer, The lofty cedar, royal Cymbeline, 
Personates thee ; and thy lopp'd branches point 
Thy two sons forth, who, by Belarius stolen. 
For many years thought dead, are now reviv'd, 
To the majestic cedar join'd, whose issue 
Promises Britain peace and plenty. 

Cymbeline. Well, 

My peace we will begin. — And, Caius Lucius, 
Although the victor, we submit to Caesar 
And to the Roman empire, promising 460 

To pay our wonted tribute, from the which 



Scene V] Cymbeline 163 

We were dissuaded by our wicked queen ; 
Whom heavens, in justice, both on her and hers, 
Have laid most heavy hand. 

Soothsayer. The fingers of the powers above do tune 
The harmony of this peace. The vision 
Which I made known to Lucius, ere the stroke 
Of yet this scarce-cold battle, at this instant 
Is full accomplish'd ; for the Roman eagle. 
From south to west on wing soaring aloft, 470 

Lessen 'd herself, and in the beams o' the sun 
So vanish'd, which foreshow'd our princely eagle. 
The imperial Caesar, should again unite 
His favour with the radiant Cymbeline, 
Which shines here in the west. 

Cymbeline, Laud we the gods ; 

And let our crooked smokes climb to their nostrils 
From our blest altars. Publish we this peace 
To all our subjects. Set we forward. Let 
A Roman and a British ensign wave 
Friendly together ; so through Lud's town march, 4S0 
And in the temple of great Jupiter 
Our peace we '11 ratify, seal it with feasts. — 
Set on there ! — Never was a war did cease. 
Ere bloody hands were wash'd, with such a peace. 

\_Exeimt. 



NOTES 




View near Milford 

NOTES 
Introduction 

The Metre of the Play. — It should be understood at the 
outset that metre, or the mechanism of verse, is something alto- 
gether distinct from the music of verse. The one is matter of rule, 
the other of taste and feeling. Music is not an absolute necessity 
of verse ; the metrical form is a necessity, being that which consti- 
tutes the verse. 

The plays of Shakespeare (with the exception of rhymed pas- 
sages, and of occasional songs and interludes) are all in unrhymed 
or blank verse ; and the normal form of this blank verse is illus- 
trated by the first line of the present play : " You do not meet a 
man but frowns ; our bloods." 

This line, it will be seen, consists of ten syllables, with the even 
syllables (2d, 4th, 6th, 8th, and loth) accented, the odd syllables 
(ist, 3d, etc.) being unaccented. Theoretically, it is made up of 
five feet of two syllables each, with the accent on the second sylla- 

167 



1 68 Notes 

ble. Such a foot is called an iambus (plural, iambuses^ or the Latin 
iambi), and the form of verse is called iambic. 

This fundamental law of Shakespeare's verse is subject to certain 
modifications, the most important of which are as follows : — 

1. After the tenth syllable an unaccented syllable (or even two 
such syllables) may be added, forming what is sometimes called a 
female line ; as in i. i. 2 : " No more obey the heavens than our 
courtiers." The rhythm is complete with the first syllable of 
courtiers, the second being an extra eleventh syllable. In i. i. 97 
(" My residence in Rome at one Philario's") we have two extra 
syllables, the rhythm being complete with the second syllable of 
Philario's. 

2. The accent in any part of the verse may be shifted from an 
even to an odd syllable ; as in i. i. 15 : "Glad at the thing they 
scowl at. And why so ? " and 26 : " Crush him together rather 
than unfold." In both lines the accent is shifted from the second 
to the first syllable. This change occurs very rarely in the tenth 
syllable, and seldom in the fourth ; and it is not allowable in two 
successive accented syllables. 

3. An extra unaccented syllable may occur in any part of the 
line ; as in i. i. 29, 31, and 35. In 29 the third syllable of Sicilius 
is superfluous ; in 3 the third syllable of Tenantius ; and in 35 
the word the. 

4. Any unaccented syllable, occurring in an even place immedi- 
ately before or after an even syllable which is properly accented, is 
reckoned as accented for the purposes of the verse ; as, for in- 
stance, in lines 30 and ^t,. In 30 the last syllable of Cassibelayi, 
and in 33 (a female line) the first of Leonatus, are metrically 
equivalent to accented syllables ; and so with the last syllable of 
gentlema7t in 34 and of the same word in 39. 

5. In many instances in Shakespeare words must be lengthened 
in order to fill out the rhythm : — 

{a) In a large class of words in which e or i is followed by 
another vowel, the e or i is made a separate syllable ; as ocean, 



Notes 169 

opinion, soldier, patience, partial, marriage, etc. For instance, in 
Lear, iv. 5. 3 ("Your sister is the better soldier") appears to have 
only nine syllables, but soldier is a trisyllable ; and the same is true 
of gorgeous in Id. ii. 4. 266 : " If only to go warm were gorgeous." 
This lengthening occurs most frequently at the end of the Jine, but 
there are few instances of it in the later plays. 

(^) Many monosyllables ending in r, re, rs, res, preceded by a 
long vowel or diphthong, are often made dissyllables ; as fare, fear, 
dear, fire, hair, hour, more, your, etc. In Lear, iii. 2. 15 ("Nor 
rain, wind, thunder, fire, are my daughters") fire is a dissyllable. 
If the word is repeated in a verse, it is often both monosyllable and 
dissyllable; as in/. C iii. i. 172 : "As fire drives out fire, so pity, 
pity," where the first fire is a dissyllable. 

{f) Words containing / or r, preceded by another consonant, 
are often pronounced as if a vowel came between or after the conso- 
nants; as in T.of S,\\. i. 158 : " While she did call me rascal fiddler" 
[fiddl(e)er] ; AlVs Well, iii. 5. 43: "If you will tarry, holy pil- 
grim" [pilg(e)rim] ; C. of E, v. I. 360: "These are the parents 
of these children " (childeren, the original form of the word) ; 
W, T. iv. 4. 76: "Grace and remembrance [rememb(e) ranee] be 
to you both ! " etc. 

(^) Monosyllabic exclamations {ay, 0, yea, nay, hail, etc.) and 
monosyllables otherwise emphasized are similarly lengthened ; also 
certain longer words ; as safety (trisyllable) in Hajn. i. 3. 21 ; busi- 
ness (trisyllable, as originally pronounced) in J, C. iv. i. 22: "To 
groan and sweat under the business " (so in several other passages) ; 
and other words mentioned in the notes to the plays in which they 
occur. 

6. Words are also contracted for metrical reasons, like plurals 
and possessives ending in a sibilant, as balance, horse (for horses 
and horse'' s), princess, sense, marriage (plural and possessive), 
image (see also on targes, v. 5. 5), etc. So with many adjectives 
in the superlative (like loyaPst, greatest, loud''st, rar''st, and sweetest 
in this play), and certain other words. 



lyo Notes 



7. The accent of words is also varied in many instances for 
metrical reasons. Thus we find both revenue and revenue in 
the first scene of M. N. D. (lines 6 and 158), cdnfine (noun) and 
confine, cdnjiscate and confiscate (see on v. 5. 323), divine (see on 
ii. I. 59) and divine, pr 6 fane (see on ii. 3. 125) dir\.di prof dtte, etc. 

These instances of variable accent must not be confounded with 
those in which words were uniformly accented differently in the 
time of Shakespeare ; like aspect, impdrtune (see on v. 5. 249), 
sepulchre (verb), per sever (never persevere^, perseverance, rheu- 
matic, etc. 

8. Alexandrines, or verses of twelve syllables, with six accents, 
occur here and there in the plays. They must not be confounded 
with female lines with two extra syllables (see on i above), or 
with other lines in which two extra unaccented syllables may 
occur. 

9. Incomplete verses, of one or more syllables, are scattered 
through the plays. See i. i. 62, 69, 109, etc. 

10. Doggerel measure is used in the very earliest comedies 
(Z. Z. Z. and C, of E, in particular) in the mouths of comic 
characters, but nowhere else in those plays, and never anywhere 
in plays written after 1598. 

11. Rhyme occurs frequently in the early plays, but diminishes 
with comparative regularity from that period until the latest. Thus, 
in Z. Z. Z. there are about iioo rhyming verses (about one-third 
of the whole number), in M. N. D. about 900, in Rich. II. and 
R, and f. about 500 each, while in Cor, and A, and C. there 
are only about 40 each, in Temp, only two, and in W, T. none at 
all, except in the chorus introducing act iv. Songs, interludes, and 
other matter not in ten-syllable measure are not included in this 
enumeration. In the present play, out of some 2600 ten-syllable 
verses, only about 90 are in rhyme. More than half of these are 
in iii. 5, iv. 2, and v. 3, which some critics believe to be earlier 
than the rest. 

Alternate rhymes are found only in the plays written before 



Notes 171 



1599 or 1600. In J/, of F. there are only four lines at the end 
of iii. 2. In Much Ado and A. V. Z., we also find a few lines, but 
none at all in this (those in v. 4. 93-113 are not Shakespeare's, 
and the others in that scene are neither his nor decasyllabic) and 
subsequent plays. 

Rhymed couplets^ or " rhyme-tags," are often found at the end of 
scenes; as in ii of the 27 scenes of the present play. In Ham. 
14 out of 20 scenes, and in Macb. 21 out of 2%^ have such " tags ; " 
but in the latest plays they are not so frequent. In Temp., for 
instance, there is but one, and in W. T. none. 

12. In this edition of Shakespeare, the final -ed of past tenses 
and participles in ve7'se is printed -d when the word is to be pro- 
nounced in the ordinary way ; as in ptupos^d, line 5, and referr'^d, 
line 6, of the first scene. But when the metre requires that the -ed 
be made a separate syllable, the e is retained ; as in enclosed, ii. 2. 
21, where the word is a trisyllable. Compare assured and asstcr^d 
in i. 6. 72 and 158. The only variation from this rule is in verbs 
like cry, die, sue, etc., the -ed of which is very rarely, if ever, made 
a separate syllable. 

Shakespeare's Use of Verse and Prose in the Plays. — 
This is a subject to which critics have given very little attention, 
but it is an interesting study. In this play we find scenes entirely 
in verse or in prose, and others in which the two are mixed. In 
general, we may say that verse is used for what is distinctly poeti- 
cal, and prose for what is not poetical. The distinction, how- 
ever, is not so clearly marked in the earlier as in the later plays. 
The second scene of M. of V., for instance, is in prose, because 
Portia and Nerissa are talking about the suitors in a familiar and 
playful way ; but in T. G. of V., where Julia and Lucetta are dis- 
cussing the suitors of the former in much the same fashion, the 
scene is in verse. Dowden, commenting on Rich. II., remarks : 
" Had Shakspere written the play a few years later, we may be 
certain that the gardener and his servants (iii. 4) would not have 
uttered stately speeches in verse, but w^ould have spoken homely 



172 Notes 



prose, and that humour would have mingled with the pathos of the 
scene. The same remark may be made with reference to the sub- 
sequent scene (v. 5) in which his groom visits the dethroned king 
in the Tower." Comic characters and those in low life generally 
speak in prose in the later plays, as Dowden intimates, but in the 
very earliest ones doggerel verse is much used instead. See on 10 
above. 

The change from prose to verse is well illustrated in the third 
scene of M. of V. It begins with plain prosaic talk about a 
business matter ; but when Antonio enters, it rises at once to- the 
higher level of poetry. The sight of Antonio reminds Shylock of 
his hatred of the Merchant, and the passion expresses itself in 
verse, the vernacular tongue of poetry. Note also the change from 
prose to verse at the end of ii. i of the present play ; after the 
King and Queen enter in ii. 3 ; and the changes in iii. 5. 

The reasons for the choice of prose or verse are not always so 
clear as in these instances. We are seldom puzzled to explain the 
prose, but not unfrequently we meet with verse where we might 
expect prose. As Professor Corson remarks {Introduction to Shake- 
speare, 1889), "Shakespeare adopted verse as the general tenor of 
his language, and therefore expressed much in verse that is within 
the capabilities of prose ; in other words, his verse constantly en- 
croaches upon the domain of prose, but his prose can never be said 
to encroach upon the domain of verse." If in rare instances we 
think we find exceptions to this latter statement, and prose actually 
seems to usurp the place of verse, I believe that careful study of 
the passage will prove the supposed exception to be apparent 
rather than real. 

Some Books for Teachers and Students. — A few out of the 
many books that might be commended to the teacher and the criti- 
cal student are the following : Halliwell-Phillipps's Outlines of the 
Life of Shakespeare (7th ed. 1887); Sidney Lee's Life of Shake- 
speare (1898; for ordinary students the abridged ed. of 1899 is 
preferable); Schmidt's Shakespeare Lexicon (3d ed. 1902); Little- 



Notes 173 

dale's ed. of Dyce's Glossary (1902); Bartlett's Concordance to 
Shakespeare (1895); ^'^o'<-^^^ Shakespearian Grammar (1873); 
Furness's "New Variorum" ed. of the plays (encyclopaedic and 
exhaustive) ; Dowden's Shakspere : His Mind and Art (Ameri- 
can ed. 1 881); Hudson's Life, Art, and Characters of Shakespeare 
(revised ed. 1882); Mrs. Jameson's Characteristics of Women 
(several eds. ; some with the title, Shakespeare Heroines) ; Ten 
Brink's Five Lectures on Shakespeare (1895); Boas's Shakespeare 
a7id His Predecessors (1895); Dyer's Folk-lore of Shakespeare 
(American ed. 1884); Gervinus's Shakespeare Commentaries (Bun- 
nett's translation, 1875) '■> Wordsworth's Shakespeare's Knowledge 
of the Bible {^i^ ed. 1880); Elson's Shakespeare in Music (1901); 
Rolfe's Life of Shakespeare (1904). 

Some of the above books will be useful to all readers who are 
interested in special subjects or in general criticism of Shakespeare. 
Among those which are better suited to the needs of ordinary 
readers and students, the following may be mentioned : Mabie's 
Willia?n Shakespeare : Poet, Dramatist, and Man (1900); Dow- 
den's Shakspere Priiner (1877 ; small but invaluable); Rolfe's 
Shakespeare the Boy (1896 ; treating of the home and school life, 
the games and sports, the manners, customs, and folk-lore of the 
poet's time) ; Guerber's Myths of Greece and Rome (for young 
students who may need information on mythological allusions not 
explained in the notes). 

H. Snowden Ward's Shakespeare^ s Town and Times (2d ed. 1902) 
and John Leyland's Shakespeare Country (2d ed. 1903) are copiously 
illustrated books (yet inexpensive) which may be particularly 
commended for school libraries. 

Abbreviations in the Notes. — The abbreviations of the 
names of Shakespeare's plays will be readily understood ; as 
T, N. for Twelfth AHght, Cor. for Coriola^ius, 3 He7t. VL, for 
The Third Pai't of King Henry the Sixth, etc. P, P, refers to 
The Passionate Pilgrim ; V. and A. to Venus and Adonis ; L. C, 
to Lover^s Co??tplaint ; and Sonn» to the Sonnets, 



174 Notes 

Other abbreviations that hardly need explanation are Cf. (^confer^ 
compare), Fol. (following), Id. (^idem, the same), and P7-oL (pro- 
logue). The numbers of the lines in the references (except for the 
present play) are those of the "Globe" edition (the cheapest and 
best edition of Shakespeare in one compact volume), which is now 
generally accepted as the standard for line-numbers in works of ref- 
erence (Schmidt's Lexicon, Abbott's Gramviar, Dowden's Primer, 
the publications of the New Shakspere Society, etc.). 

The Stories of the Play as told by Holinshed and 
Boccaccio. — The following extracts from Holinshed (see p. 1 1 
above) include all the portions of the chronicle which Shake- 
speare can have used in writing the play : — 

" After the death of Cassibelane, Theomantius or Lenantius, the 
youngest son of Lud, was made king of Britain in the year of 
the world 3921, after the building of Rome 706, and before the 
coming of Christ 45. . . . Theomantius ruled the land in good 
quiet, and paid the tribute to the Romans which Cassibelane had 
granted, and finally departed this life after he had reigned twenty- 
two years, and was buried at London. 

** Kymbeline or Cimbeline, the son of Theomantius, was of the 
Britains made king, after the decease of his father, in the year of 
the world 3944, after the building of Rome 728, and before the 
birth of our Saviour 33. This man (as some write) was brought 
up at Rome, and there made knight by Augustus Caesar, under 
whom he served in the wars, and was in such favour with him that 
he was at liberty to pay his tribute or not. . . . Touching the 
continuance of the years of Kymbeline's reign some writers do 
vary, but the best approved affirm that he reigned thirty-five years 
and then died, and was buried at London, leaving behind him two 
sons, Guiderius and Arviragus. But here is to be noted that, 
although our histories do affirm that as well this Kymbeline, as 
also his father Theomantius, lived in quiet with the Romans, and 
continually to them paid the tributes which the Britains had cove- 



Notes 175 

nanted with Julius Caesar to pay, yet we find in the Roman writers, 
that after Julius Caesar's death, when Augustus had taken upon him 
the rule of the empire, the Britains refused to pay that tribute : 
whereat, as Cornelius Tacitus reporteth, Augustus (being otherwise 
occupied) was contented to wink ; howbeit, through earnest call- 
ing upon to recover his right by such as were desirous to see the 
uttermost of the British kingdom ; at length, to wit, in the tenth 
year after the death of Julius Caesar, which was about the thirteenth 
year of the said Theomantius, x\ugustus made provision to pass 
with an army over into Britain, and was come forward upon his 
journey into Gallia Celtica, or, as we may say, into these hither 
parts of France. 

" But here receiving advertisements that the Pannonians, which 
inhabited the country now called Hungary, and the Dalmatians, 
whom now we call Slavons, had rebelled, he thought it best first to 
subdue those rebels near home, rather than to seek new countries, 
and leave such in hazard whereof he had present possession ; and 
so, turning his power against the Pannonians and Dalmatians, he 
left off for a time the wars of Britain, whereby the land remained 
without fear of any invasion to be made by the Romans till the 
year after the building of the city of Rome, 725, and about the 
nineteenth year of Theomantius' reign, that Augustus with an 
army departed once again from Rome to pass over into Britain 
there to make war. But after his coming into Gallia, when the 
Britains sent to him certain ambassadors to treat with him of 
peace, he staid there to settle the state of things among the Galles, 
for that they were not in very good order. . . . But whether this 
controversy, which appeareth to fall forth betwixt the Britains and 
Augustus, was occasioned by Kymbeline, or some other prince of 
the Britains, I have not to avouch : for that by our writers it is 
reported that Kymbeline, being brought up in Rome, and knighted 
in the court of Augustus, ever showed himself a friend to the 
Romans, and chiefly w^s loth to break with them, because the 
youth of the British nation should not be deprived of the benefit 



176 



Notes 



to be trained and brought up among the Romans, whereby they 
might learn both to behave themselves like civil men, and to 
attain to the knowledge of feats of war. . . . 

" Mulmucius Dunwallo, the son of Cloten, got the upper hand 
of the other dukes or rulers : and after his father's decease began 
his reign over the whole monarchy of Britain, in jthe year of the 
world 3529. This Mulmucius Dunwallo proved a right worthy 
prince. He builded within the city of London, then called Troino- 
vant, a temple, and called it the Temple of Peace. He also made 
many good laws, which were long after used, called Mulmucius' 
laws. After he had established his land, and set his Britains in 
good and convenient order, he ordained him by the advice of his 
lords a crown of gold, and caused himself with great solemnity to 
be crowned, according to the custom of the pagan laws then in 
use : and because he was the first who bare a crown here in Britain, 
after the opinion of some writers, he is named the first king of 
Britain, and all the other before rehearsed are named rulers, 
dukes, or governors." 

Of the story so far as it is told by Boccaccio, Mrs. Jameson gives 
the following outline : — 

" A company of Italian merchants who are assembled in a tavern 
at Paris are represented as conversing on the subject of their wives. 
All of them express themselves with levity, or scepticism, or scorn, 
on the virtue of women, except a young Genoese merchant named 
Bernabo, who maintains that by the especial favour of Heaven he 
possesses a wife no less chaste than beautiful. Heated by the 
wine, and 'excited by the arguments and the coarse raillery of 
another young merchant, Ambrogiolo, Bernabo proceeds to enu- 
merate the various perfections and accomplishments of his Zinevra. 
He praises her loveliness, her submission, and her discretion — her 
skill in embroidery, her graceful service, in which the best trained 
page of the court could not exceed her ; and he adds, as rarer 
accomplishments, that she could mount a horse, fly a hawk, write] 
and read, and cast up accounts, as well as any merchant of thei 



Notes 177 

all. His enthusiasm only excites the laughter and mockery of his 
companions, particularly of Ambrogiolo, who, by the most artful 
mixture of contradiction and argument, rouses the anger of Ber- 
nabo, and he at length exclaims that he would willingly stake his 
life, his head, on the virtue of his wife. This leads to the wager 
which forms so important an incident in the drama. Ambrogiolo 
bets one thousand florins of gold against five thousand that Zinevra, 
like the rest of her sex, is accessible to temptation — that in less 
than three months he will undermine her virtue, and bring her 
husband the most undeniable proofs of her falsehood. He sets off 
for Genoa in order to accomplish his purpose ; but on his arrival, 
all that he learns, and all that he beholds with his own eyes, of the 
discreet and noble character of the lady, make him despair of suc- 
cess by fair means ; he therefore has recourse to the basest treach- 
ery. By bribing an old woman in the service of Zinevra, he is 
conveyed to her sleeping apartment concealed in a trunk, from 
which he issues in the dead of night ; he takes note of the furni- 
ture of the chamber, makes himself master of her purse, her 
morning robe, or cymar, and her girdle, and of a certain mark on 
her person. He repeats these observations for two nights, and, 
furnished with these evidences of Zinevra's guilt, he returns to 
Paris, and lays them before the wretched husband. Bernabo 
rejects every proof of his wife's infidelity except that which finally 
convinces Posthumus. When Ambrogiolo mentions the 'mole, 
cinque-spotted,' he stands like one who has received a poniard in 
his heart ; without further dispute he pays down the forfeit, and 
filled with rage and despair both at the loss of his money and the 
falsehood of his wife, he returns towards Genoa. He retires to his 
country-house, and sends a messenger to the city with letters to 
Zinevra, desiring that she would come and meet him, but with 
secret orders to the man to despatch her by the way. The servant 
prepares to execute his master's command, but, overcome by her 
entreaties for mercy and his own remorse, he spares her life, on 
condition that she will fly from the country forever. He then dis- 

CYMBELINE — 12 



I 



T78 



Notes 



giiises her in his own cloak and cap, and hrings back to her 
husband the assurance that she is killed, and that her body has 
been devoured by the wolves. In the disguise of a mariner, 
Zinevra then embarks on board a vessel bound to the Levant, 
and on arriving at Alexandria she is taken into the service of the 
Sultan of Egypt, under the name of Sicurano. She gains the con- 
fidence of her master, who, not suspecting her sex, sends her as 
captain of the guard which was appointed for the protection of 
the merchants at the fair of Acre. Here she accidentally meets 
Ambrogiolo, and sees in his possession the purse and girdle, which 
she immediately recognizes as her own. In reply to her inquiries, 
he relates with fiendish exultation the manner in which he had 
obtained possession of them, and she persuades him to go back 
with her to Alexandria. She then sends a messenger to Genoa in 
the name of the Sultan, and induces her husband to come and 
settle in Alexandria. At a proper opportunity, she summons both 
to the presence of the Sultan, obliges Ambrogiolo to make a full 
confession of his treachery, and wrings from her husband the 
avowal of his supposed murder of herself; then, falling at the feet 
of the Sultan, discovers her real name and sex, to the great amaze- 
ment of all. Bernabo is pardoned at the prayer of his wife, and 
Ambrogiolo is condemned to be fastened to a stake, smeared with 
honey, and left to be devoured by the flies and locusts. This hor- 
rible sentence is executed ; while Zinevra, enriched by the presents 
of the Sultan and the forfeit wealth of Ambrogiolo, returns with 
her husband to Genoa, where she lives in great honour and happi- 
ness, and maintains her reputation of virtue to the end of her life." 
Mrs. Jameson adds : " These are the materials from which 
Shakespeare has drawn the dramatic situation of Imogen. He has 
also endowed her with several of the qualities which are attributed 
to Zinevra ; but for the essential truth and beauty of the individual 
character, for the sweet colouring of pathos, and sentiment, and 
poetry interfused through the whole, he is indebted only to nature 
and himself." 



Scene I] Notes 179 



ACT I 

Scene I. — i. Bloods, Temperaments, dispositions; as in 2 
Hen. IV. iv. 4. 38 : " When you perceive his blood inclin'd to 
mirth," etc. The plural is used, as often, because more than one 
person is referred to. 

3. Still seem as does the king. The folios have " kings," and 
some modern editors read "king's" (that is, the king's blood). 
The sense is : Our temperaments are not more surely controlled by 
planetary influences than the aspect of our courtiers is by that of 
the king ; their looks reflect the sadness of his Cf. 13 just below. 

4. Of ^s. Such contractions are especially frequent in the latest 
plays of S. See many instances below. 

6. Keferr'^d herself. Used somewhat peculiarly and " euphuis- 
tically." The speaker seems to think it necessary to explain it by 
adding that she '5 wedded. 

10. None but the king? "Are all but the king in outward sor- 
row only ? none else touched at heart ? " 

13. To the bent. According to the cast or aspect. Cf. A, and 

C. i. 3- 36 : - 

" Eternity was in our lips and eyes, 
Bliss in our brows' bent ; " 

and C. of E. ii. 2. 32 : — 

" If you will jest with me, know my aspect, 
And fashion your demeanour to my looks." 

23. Outward. For the noun, cf. Sonji, 69. 5 : " Thy outward 
thus with outward praise is crown'd ; " T. and C. iii. 2. 169 : 
*' Outliving beauty's outward," etc. 

24. But he, CL A, Y, Z. i. 2. 18 : "my father hath no child 
but I." You speak hif?i far = you go far in what you say of him. 
Cf. v. 5. 309 below. 



i8o 



Notes [Act I 



25 / do extend him, sir, within himself. That is, far as I speak 
him, I keep within the bounds of his merit. Malone paraphrases 
the passage thus : - My eulogium, however extended it may seem, 
is short of his real excellence ; it is abbreviated rather than ex- 

panded." 

2^. Did join his honour. Gave his noble aid or alliance. The 

passage has troubled many of the commentators, who have sug- 
gested various changes, but none is really called for. 

30. Cassibelan. Lud's younger brother, while Tejtantius, whom 
Hohnshed (see p. 174 above) calls -Theomantius or Lenantius," 
was Lud's son. On the death of his brother, Cassibelan usurped 

the throne. 

31. But had his titles, etc. That is, though he had jomed the 
party of the usurper, he was forgiven and honoured by the rightful 

kin2f- 

33". Sur-addition. Surname; used by S. only here. "The 
name of Ieo7iatus he found in Sidney's Arcadia. Leonatus is 
there the legitimate son of the bUnd King of Paphlagoma, on 
whose storv the episode of Gloster, Edgar, and Edmund is formed 
in King Lear^' (Malone). We have Leonato in Much Ado, and 
" Innogen " appears as the name of his wife in a stage-direction, 
though she is not one of the dramatis per sonce. 

43? Learnings. The only instance of the plural in S. His 

time = his age. 

46. In 's. See on 4 above. On the line, cf. A, and C, v. 2. 

^^ • " For his bounty 

There was no winter in 't ; an autumn 't was 
That grew the more by reaping." 

47. Which rare it is to do. "This encomium is high and art- 
ful. To be at once in any degree loved ^n^ praised is truly rare " 

(Johnson). 

49. Feated Fashioned, " featur'd" (Rowe's reading) ; used (as 

a verb) by S. only here. Singer quotes Palsgrave, 1530 : "I am 



Scene I] Notes 1 8 1 

well feted or shapen of my lymmes ; je suis bien aligne," Cf. 
2 Hen, IV. ii. 3. 21 (see also 31) : — 

" he was indeed the glass 
Wherein the noble youth did dress themselves; " 

?ind Ham. iii. i. 161 : "The glass of fashion and the mould of 
form." 

50. To his mistress. Mason says that to is = ^' as to." I prefer 
to consider the passage an instance of '* construction changed by 
change of thought." 

58. Mark it. " Shakespeare's dramatic art uses this expedient, 
naturally introduced into the dialogue, to draw special attention to 
a circumstance that it is essential should be borne in mind, and 
which otherwise might escape notice in the course of narration " 
(Clarke). 

60. N'o guess ill knowledge. No certain guess, none that proves 
true. 

63. Conveyed. Stolen; a cant term. Cf. I\ich. II. iv. i. 317 ; 
"O, good ! Convey ? — conveyers are you all." See also M. W. i. 
3. 30 fol. 

70. Enter the Queen^ etc. The folio begins " Scena Secunda " 
here, and some modern editors follow it. Rowe was the first to 
continue the scene. 

74. Posthumus. Accented by S. on the second syllable. Ver- 
planck remarks : " Well-educated men in England have an accu- 
racy as to Latin quantity, and lay a stress upon it, such as are 
elsewhere found only among professed scholars. On this account 
Steevens and other critics have considered the erroneous quantity 
or accentuation of Posthdmus and Arviragus as decisive of Shake- 
speare's want of learning. But the truth is, that in his day great 
latitude, in this respect, prevailed among authors ; and it is proba- 
ble that Latin was taught in the schools, as it still is in Scotland 
and many parts of the United States, without any minute attention 
to prosody. Steevens himself has shown that the older poets were 



1 82 Notes [Act I 

careless in this matter. Thus the poetical Earl of Stirling has 
Darius and Euphrates with the penultimate short. Warner, who 
was, I believe, a scholar, in his Albion^ s Engla7id has the same 
error with Shakespeare, as to both names." 
78. Leaned unto. Bowed to, submitted to. 

86. Something . . . nothing. Both often used adverbially. Cf. 
i. 4. 73, 106, i. 6. 190, iv. 4. 15, etc., below. 

87. Always rese^'v'd my holy duty, " So far as I may say it 
without breach of duty" (Johnson). 

96. LoyaVst. For the contracted superlative, cf. i. 6. 120, iii. 5. 
44, iv. 2. 175, 191, etc., below. 

10 1. Gall, Johnson says : " Shakespeare, even in this poor 
conceit, has confounded the vegetable galls used in ink with the 
animal gall^ supposed to be bitter ; " but Steevens reminds him 
that the vegetable gall is also bitter. Cf. T. N, iii. 2. 52: "Let 
there be gall enough in thy ink." Herford says that ox-gall " was 
actually one of the constituents of Elizabethan ink, as is shown 
by contemporary receipts for making it." 

105. He does buy my injuries to be friends, " He gives me a 
valuable consideration in new kindness (purchasing, as it were, the 
wrong I have done him), in order to renew our amity and make 
us friends again" (Malone); in other words, he is the first to 
make advances for reconciliation. 

113. Till you woo another wife. Mrs. Jameson says on this 
and what follows : " Imogen, in whose tenderness there is nothing 
jealous or fantastic, does not seriously apprehend that her husband 
will woo another wife when she is dead. It is one of those fond 
fancies which women are apt to express in moments of feeling, 
merely for the pleasure of hearing a protestation to the contrary. 
When Posthumus leaves her, she does not burst forth in eloquent 
lamentation ; but that silent, stunning, overwhelming sorrow, 
which renders the mind insensible to all things else, is represented 
with equal force and simplicity." 

116. Sear, "Cere" and "seal" have been suggested, but 



Scene I] Notes 183 

probably, as Clarke suggests, ^^ sear is here used to express the 
dry withering of death, as well as the closing with wax by those 
bo7ids of death, cerecloths [cf. M, ofV. ii. 7. 51], sometimes written 
sear e- cloths.'''' 

118. While se7ise can keep it on, Steevens took this to be = 
** While sense can maintain its operations, or continues to have its 
usual power ; " but it probably refers to the ring, as others have 
explained it. For the change of person, Malone compares iii. 3. 

103 below : — 

" Euriphile, 
Thou wast their nurse ; they took thee for their mother, 
And every day do honour to her grave." 

124. When shall we see again? Cf. Hen. VIII, i. i. 2: "Since 
last we saw in France." See also T. and C. iv. 4. 59. 

125. Avoid ! Begone ! Cf. C. of E. iv. 3. 48 : " Satan, avoid ! " 

126. Fraught. Burden. Cf. Temp. i. 2. 13: "The fraughting 
souls within her " (that is, the ship). Freight is not used by S. or 
Milton, either as verb or noun. 

129. The good re7?iainders, etc. "That is, the court which now 
gets rid of my unworthiness^^ (Schmidt). The expression is 
ironical. 

130. A pinch. A pang. Cf. Temp. v. i. 77: "Whose inward 
pinches [the pangs of remorse] therefore are most strong." 

133. A year's age. As the passage stands this seems an impo- 
tent conclusion, and the defective measure of the preceding line 
suggests that something may have been lost. Various changes 
have been made or suggested. Verplanck accepts the old read- 
ing, and says : " The aged king, to whom every added year is a 
serious burden, tells his daughter that in her present act of fond 
sorrow she takes away a year of his life." 

135. Senseless of Insensible to. Cf. A, Y. L. ii. 7. 55: "to 
seem senseless of the bob" (that is, seem not to feel the blow), 
etc. A touch more rare ~ a more exquisite sensibility. Cf. Lear, 
iii. 4. 8 ; — 



1 84 Notes [Act 1 

" But where the greater malady is fix'd, 
The lesser is scarce felt." 

140. A ptittock. A kite, or a worthless species of hawk. Cf. 
2 He7t, VI. ill. 2. 191 : — 

" Who finds the partridge in the puttock's nest 
But may imagine how the bird was dead, 
Although the kite soar with unbloodied beak ? " 

and T, and C v. i. 68: "a toad, a lizard, an owl, a puttock," etc. 

146. Overbuys me, etc. Pays a price that exceeds by almost the 
full amount what he gets in return ; that is, he gives himself, 
worth any woman, even the best of her sex, and gets only my 
almost worthless self in return. Cf. what Posthumus says in 119, 
120 above. 

153. Beseech your patience. That is, / beseech it; a common 
ellipsis. Cf. p7dthee — I pray thee. 

156. Your best advice. Your most careful consideration. Cf. 
Rich. II. i. 3. 233: "Thy son is banish'd upon good advice" (that 
is, after due deliberation) ; M. of V. iv. 2. 6: "upon more advice " 
(upon reflection), etc. 

157. A drop of blood a day. Steevens compares 0th. v. 2. 155 : — 

" may his pernicious soul 
Rot half a grain a day 1 " 

164. On't. Of it. Cf. V. 5. 311 below: "two on 's," etc. 
167. In Afric. That is, where no one would be at hand to part 
them. Cf. Cor. iv. 2. 23 : — 

" I would my son 
Were in Arabia, and thy tribe before him, 
His good sword in his hand ! " 

Macb. iii. 4. 104 : " And dare me to the desert with thy sword ; " 
and Rich. II. iv. i. 74: "I dare meet Surrey in a wilderness." 
For Afric, cf. Temp. ii. I. 69 and Cor. i. 8. 3. It is an adjective 
in T. and C. i. 3. 370. Africa occurs only in 2 Hen. IV, v. 3. 104. 



\ 



Scene II] Notes 185 

168. Needle. Apparently monosyllabic, as in several other 
passages, in some of which editors have substituted the old form 
"neeld." 

171. BiHng. Accompany. Cf. W. T. iv. 3. 122: "Shall I 
bring thee on the way ?" See also Genesis^ xviii. 16, Acts, xxi. 5, 
2 Co7'intkia7is, i. 16, etc. 

176. Walk. Retire, withdraw. Cf. Lear^ iv. 7. ^1,, 0th. iv. 3. 
4, etc. 

Scene II. — 5. Then to shift it. Then I would shift it. 

9. Passable. Affording free passage ; no more to be wounded 
than "the still-closing waters" in Temp. iii. 3. 64. 

10. Through/are. Thoroughfare ; as in M. of V. ii. 7. 42. 
Thoroughfaj'e does not occur in the folio, though many of the 
modern eds. follow Pope in reading it here. 

12. It went o"^ the backside the town. "Kept out of harm's way, 
as a debtor might do to avoid arrest in a town " (Ingleby). 

15. He fled forward. Steevens compares T. and C. iv. i. 20: — 

" And thou shalt hunt a lion, that will fly 
With his face backward." 

18, Having. Possession, property. Cf. 7". A^. iii. 4. 379 : "My 
having is not much." The quibble in gave you some ground is 
obvious. 

21. Ptcppies ! Referring to " his disgust at the swagger of Cloten 
and the sycophancy of the first lord, who plies the swaggerer with 
spaniel flattery and fawning" (Clarke). 

27. A trtie election. A right choice. White thinks there is an 
allusion to the Calvinistic doctrine of election. 

29. Her beauty and her brain, etc. Her beauty and wit are not 
equal. 

30. She 'j a good sign, etc. " She has a fair outside, a specious 
appearance, but no wit" (Edwards). Cf. Much Ado. iv. i. 34: 
" She 's but the sign and semblance of her honour ; " also what 
lachimo says of Imogen in i. 6. 15 : — 



1 86 Notes [Act I 

" All of her that is out of door most rich ! 
If she be furnish'd with a 7ni7td so rare, 
She is alone the Arabian bird." 

Scene III. — 4. As offe7'''d mercy is. As a pardon that has mis- 
carried, or arrived too late to benefit a prisoner. Cf. A, W, v. 
3. 58 : " Like a remorseful pardon slowly carried." 

12. Of 'j-. See on i. 1.4 above. 

16. After-eye. Look after ; used by S. only here. 

17. Cracked. Not a weaker word than broke, as S. uses it. Cf. 
Cor, i. I. 72: — 

" Cracking ten thousand curbs 
Of more strong link asunder than can ever 
Appear in your impediment." 

See also v. 5. 207 below. 

18. The diminution of space. The diminution due to space, or 
distance. 

24. Vantage. Opportunity. Cf. ii. 3. 46 below. 
29. Shes. Cf. i. 6. 39 below : " tw^o such shes." See also T, N, 
i* 5* 259, T. and C. i. 2. 314, Sonn. 130. 14, etc. 

32. To encou7iter. To meet, or join with. 

33. I am in heaven. My prayers will be rising to heaven. 

35. Two charming words. Imogen does not tell us these words, 
but Warburton informs us that they were " Adieu, Posthumus ! " 
Charmifig = that should be as a charm to preserve him from evil 
— which w^ords of farewell, such as AVarburton suggests, could 
not be, unless taken in their etymological sense. 

36. The 7iorth. Cf. 0th. v. 2. 220 : " No, I will speak as Hberal 
as the north ; " that is, as freely as the north wind blows. 

37. Our buds. " Our buds of love^'' as Malone is kind enough 
to tell us. Warburton wanted to read " blowing " for growing; 
which drew forth this ponderous comment from Johnson: "A 
bud without, any distinct idea, whether of flower or fruit, is a natu- 
ral representation of any thing incipient or immature ; and the 



Scene IV] Notes 187 

buds of flowers, if flowers are meant, grow to flowers, as the buds 
of fruits ^r^zf to fruits." Cf. R. and J, ii. 2. 121 : — 

" This bud of love, by summer's ripening breath, 
May prove a beauteous flower when next we meet." 

Scene IV. — "It has been observed that the behaviour of the 
Spaniard and the Dutchman, who are stated to be present during 
this animated scene, is in humorous accordance with the apathy 
and taciturnity usually attributed to their countrymen. Neither 
the Don nor Mynheer utters a syllable. * What was Imogen to 
them, or they to Imogen,' that they should speak of her ? " (Ver- 
planck). White remarks that "their mere presence has a dramatic 
value, as indicating the mixed company of travellers in which this 
scene takes place." 

2. A crescent note. A growing reputation. For crescejtt, cf 
Hafn. i. 3. II and A. and C. ii. I. 10 ; and for 7iote (= distinction), 
i. 6. 22 below : " of the noblest note," etc. 

5. Admiration. Wonder, astonishment ; as in i. 6. 2)1 below. 
He means that he did not then see anything remarkable in 
Posthumus. 

9. Makes him. " In the sense in which we say. This will make 
or mar you" (Johnson). Cf. Macb. ii. 3. 35 : "it makes him and 
it mars him." 

16. Words him . , . a great deal from the matter. Describes 
him beyond his deserts. For froin — away from, see Rich III. iii. 
5. 32, iv. I. 43, etc. 

20. Under her colours. " Under her banner ; by her influ- 
ence " (Johnson). Are wonderfully to extend him — tend greatly 
to increase his reputation. Cf. the use of extend in i. i. 25 above. 
Are is probably an instance of " confusion of proximity " (the verb 
agreeing with those rather than approbatioii), but Steevens includes 
the preceding matter (in 14) and banishment in the subject. 

24. Hoiu creeps acquaintance ? A peculiar expression, perhaps 
implying an " unexpected result." 



1 88 Notes [Act I 

27. Without less. Changed by Rowe to "without more." It 
is probably one of the peculiar " double negatives " of which so 
many examples are to be found in S. See Schmidt, p. 1420. 

30. Knoiving. Knowledge, experience ; as in ii. 3. 98 below. 

34. Story. Cf. V. and A. 1013: "and stories His victories ; " 
and R, of L. 106: "He stories to her ears her husband's fame." 
S. uses the verb only three times. 

35. Have knoivii together. Have been acquainted. Cf. A. and 
C. ii. 6. 86 : " You and I have known, sir." 

38. Which I will be ever to pay, etc. Malone misquotes A. W, 
iii. 7. 16: "Which I will overpay ["ever pay," he gives it J and 
pay again." 

41. Atone. Make at one, reconcile; as in Rich. II. i. i. 202: 
" Since we cannot atone you," etc. 

43. Mortal. Deadly; as in iii. 4. 18, v. 3. 51, v. 5. 50, 235 
below. 

44. Importance. Import, matter, subject. Malone and Steevens 
make it = importunity ; as in T. N. v. i. 371 and K, John, ii. I. 7. 

46. Go even. Agree, act in accordance. It is used without with 
(= agree, coincide) in T. N. w. i. 246 : "Were you a woman as 
the rest goes even," etc. 

52. Such . . . that. Cf. W. T. i. 2. 263 : — 

" these, my lord, 
Are such allow'd infirmities that honesty 
Is never free of." 

See also i. 6. 129, etc. below. 

53. Confounded. Destroyed; as often. Cf. confusion in iii. I. 
66 and iv. 2. 93 below. 

58. Which 7?iay without contradiction, etc. " Whiph, undoubt- 
edly, may be publicly told" (Johnson). 

62. Upon warrant of bloody affir7?iati07t. That is, pledging him- 
self to seal the truth of it with his blood. S. uses affirmation 
nowhere else. 



Scene IV] Notes 189 

63. Constant-qualified. Faithful. The hyphen is not in the 
folios, and perhaps is not necessary. For the compound, cf. v. 5. 
58 below. 

64. Attemptable, Liable to be attempted^ or seduced ; the only 
instance of the word in S. 

73. Though I profess myself her adorer, not her friejid. This 
may be = though I profess to be only her disinterested admirer, 
not her personal friend. Johnson explained it thus : " Though I 
have not the common obligations of a lover to his mistress, and 
regard her not with the fondness of a friend, but with the rever- 
ence of an adorer.'* Steevens took friend to be = lover (as in A, 
and C. iii. 12. 22, etc.), and Schmidt gives the same explanation. 
Staunton says : " Posthumus, we apprehend, does not mean, — I 
avow myself, not simply her admirer, but her worshipper ; but, 
stung by the scornful tone of lachimo's remark, he answers, — Pro- 
voked as I was in France, I would abate her nothing, though the 
declaration of my opinion proclaimed me her idolater rather than 
her lover." 

75. Hand-in-hand, " Balanced ; assigning equal merit to each 
side " (Herford). Schmidt explains it as " handy-dandy, juggling." 

99. Unprizable. Invaluable. In the only other instance in S. 
( 7". A^. V. I. 58) it means valueless, or worthless. 

104. To convince. As to overcome. For the ellipsis of as, cf. 
M. of V. iii. 3. 10 : " so fond [foolish] to come abroad," etc., and 
for convince, cf. Macb. i. 7. 64 : — 

" his two chamberlains 
Will I with wine and wassail so convince 
That memory, the warder of the brain, 
Shall be a fume," etc. 

106. Nothing. For the adverbial use, see on i. I. 86 above. 
108. Leave. Leave off, desist. Cf. ii. 2. 4 below. 
114. Go back. Give way. Cf. A. and C. v. 2. 155 : "What, 
goest thou back ? " 



190 Notes [Act I 

115. To frieftd. For my friend, to befriend me. Ci.J, C iii. i. 
143 : " I know that we shall have him well to friend," etc. 

117. Moiety. Here == half, but often used for other fractions. 
Cf. M. of V. iv. I. 26, I Hen. IV. iii. I. 96, etc. 

119. Sojiiething. See on i. i. 86 above. 

123. A great deal abused. ]Much deceived. Cf. Much Ado^ v. 
2. 100 : " Hero hath been falsely accused, the prince and Claudio 
mightily abused," etc. See also iii. 4. 103, 121 below. 

133. App7'obation. Proving, establishing. Cf. Hen. V. i. 2. 19 : — 

" For God doth know how many, now in health, 
Shall drop their blood in approbation 
Of what your reverence shall incite us to ! " 

136. Whom in constancy you think stands, etc. For the "con- 
fusion of construction," cf. Te?7ip. iii. 3. 92 : *' Young Ferdinand, 
whom 'they suppose is drown'd ; " K. John, iv. 2. 165: "Of 
Arthur, whom they say is kill'd to-night," etc. 

143. Wage. Wager, stake. Cf. i%w. v. 2. 154 : "The king hath 
waged [" wagered " in quarto] with him six Barbary horses," etc. 

146. Afraid. The folios have "a friend." Clarke retains "a 
friend," as a sneering allusion to what Posthumus has said in 73 
above, and takes the meaning to be ; "You are a friend (or lover), 
not an adorer, and therein the wiser, since women are not worthy 
of adoration and worship, as immaculate beings." He considers 
that the use of religiojt favours this interpretation. 

152. / a7?i the master, etc. I am responsible for what I say. 
Undergo = undertake, maintain. Cf. iii. 5. no below. 

156. Between 'i-. See on i. i. 4 above. 

159. Lay. Wager ; as in 0th. ii. 3. 330 : "my fortunes against 
any lay worth naming," etc. 

160. If I bring you, etc. **This is in accordance with lachimo's 
designing manner. He affects to state the terms of the wager on 
both sides ; but he, in fact, proposes them so that they shall sug- 
gest, either way, Posthumus's winning" (Clarke). 



Scene V] Notes I9I 

165. Jewel, Applied in the time of S. to any personal ornament 
of gold or precious stones ; as here, and in M. of V, v. i. 224, to a 
ring. In ii. 3. 142 below it means a bracelet. 

166. Provided I have, etc. That is, provided you will commend 
(or introduce) me to her so that I may be readily received or enter- 
tained. Cf. 138 above. 

169. Articles. A written agreement. Cf. 177 just below. 

170. Your voyage upon her. Your venture or attempt upon 
her. Cf. M, W. ii. I. 189 : "If he should intend this voyage 
towards my wife," etc. See also T, N. iii. i. 86. 

180. Starve. Perish with cold ; as in 2 Hen. VI. iii. I. 343 : — 

" I fear me you but warm the starved snake, 
Who, cherish'd in your breasts, will sting your hearts." 

See also Spenser, Shep. Kal. Feb. : "The rather Lambes bene 
starved with cold " (where rather — earlier-born), etc. 

184. Will not from it. Will not recede from it, will not " back 
out." 

Scene V. — i. Whiles. Used by S. interchangeably with while, 

2. Note. List; or perhaps " prescription, receipt," as Schmidt 
explains it. It has this latter sense in A. W. i. 3. 232. 

5. Pleaseth, If it please. Cf. C. of E. iv. I. 12 : " Pleaseth 3^ou 
walk with me down to his house," etc. 

12. Learned. Taught ; as often. Cf. PsahnSy xxv. 4, 8, cxix. 66 
(Prayer-Book version). 

18. Conclusions ? Experiments ; as in A. and C, v. 2. 358 : — 

"her physician tells me 
She hath pursued conclusions infinite 
Of easy ways to die," etc. 

22. Act. Action. Cf. 0th. iii. 3. 328 : — 

" Dangerous conceits are in their natures poisons. 
Which at the first are scarce found to distaste, 
But with a little act upon the blood 
Burn like the mines of sulphur." 



ipl Notes [Act 1 

26. Content thee. Be at ease, do not trouble yourself. It is 
generally = compose yourself, keep your temper. 

32. Hark thee. Here thee is probably a corruption of thoti ; as 
in '• look thee " ( W. T. iii. 3. 116),'' come thee " (^. aiid C. iv. 7. 
16), etc. 

33. / do not like he?', etc. Johnson criticises this soliloquy as \ 
" very inartificial," merely " a long speech to tell himself what him- 
self knows ; " but, as Clarke remarks, it is characteristic in " a re- 
flective man, a student, one accustomed to ponder upon his experi- 
ments, and to render himself an account of the effects they will 
produce." It also serves the purpose of " informing the audience 
what is the nature of the drugs thus entrusted to the queen's power, 
and prepares for the incident of Imogen's return to life after having 
swallowed them." 

43. Truer. Truer to myself, more honest. 

47. Qtiench. That is, grow cool ; the only instance of this sense 
in S. It is used intransitively again in Rich. IL v. 5. 109 : '*in 
never-quenching fire" (unquenchable fire). 

54. Shift his being. Change his abode. 

56. Decay. Destroy. For the transitive use, cf. T. N. i. 5. 82 : 
" infirmity, that decays the wise," etc. 

58. That leans. "That inclines towards its fall " (Johnson). 

64. Cordial. Reviving ; as in iv. 2. 328 below. 

68. What a chance thou changest on. " With what a fair pros- 
pect of mending your fortunes you now change your present ser- 
vice " (Steevens). 

76. Shak'd. For the form, cf. Hen. V. ii. i. 124 and T. and C. 
i. 3. loi. See also Mnshak'd'm ii. i. 65 below. Shaken occurs five 
times, but the common form in S. is shook. 

'j'j. The re?nembrancer, etc. One who admonishes her to main- 
tain her marriage vows. Hand-fast is used by S. only here and in 
IV. T. iv. 4. 795, where it means confinement, custody. 

80. Liegers. " A lieger ambassador is one that resides in a 
foreign court to promote his master's interest" (Johnson). Cf. 
M.for M. iii. I. 59: — 



Scene VI] Notes 193 

" Lord Angelo, having affairs to heaven, 
Intends you for his swift ambassador, 
Where you shall be an everlasting lieger." 

S;^. The violets^ cozuslipSy etc. " Observe how skilfully S. has 
made this evil woman order her ladies to ' gather these flowers ' — 
how she desires that they shall be borne to her closet — her labora- 
tory ; not gathering or caring for them herself ; not caring for the 
touch, and scent, and sight of these gentle things — that all good 
people instinctively love, and cherish, and caress. How different 
is the poet's treatment of the subject, where he makes the virtuous 
Friar Laurence rise with the dawn, himself to gather the * precious- 
juiced flowers,' * ere the sun advance his burning eye ; ' and dilating 
with fond enthusiasm on their * many virtues excellent,' and philoso- 
phizing on their varied qualities and purposes ! " (Clarke). 

Scene VI. — 4. Supreme. Accented on the first syllable, as 
x^g\}\2,x\y before a noun. See on divine, ii. I. 59 below; and cf. 
profane in ii. 3. 125. 

6. Most miserable, etc. " Most doomed to disappointment is 
the exalted aspiration" (Clarke). 

8. That have their honest wills, etc. " Who gratify their inno- 
cent wishes with reasonable enjoyments" (Johnson). "Who have 
the power of gratifying their honest inclination, which circumstance 
bestows an additional relish on comfort itself" (Steevens). Sea- 
sons co?nfort is clearly = gives a zest to happiness. Cf. T. a^id C. 
i. 2. 278 : " the spice and salt that season a man." 

9. Which. The antecedent is the preceding clause. 

II. Change you, madam ? " How by these three little words the 
dramatist lets us behold the sudden pallor and as sudden flush of 
crimson that bespread the wife's face at this instant" (Clarke). 

17. The Arabia7i bird. The phoenix. Cf. A. V. Z. iv. 3. 17, 
Temp. iii. 3. 23, I/en. VIII. v. 5. 41, etc. 

22. N'ote. See on i. 4. 2 above. 

24. Truest. The folios have " trust," which some retain, point- 

CYMBELINE — 1 3 



194 Notes [Act I 

ing it as an unfinished sentence ("trust — ") ; but on the whole 
Hanmer's emendation of truest seems preferable. As White re- 
marks, " what Imogen reads is certainly the end, not the beginning, 
of the letter ; the first word that she reads, he, necessarily implying 
a previous mention and introduction of lachimo." So far ^ as he 
adds, may very properly be taken as = " so much ; " and the rest 
may refer as well to what has gone before as to what comes after. 
This interpretation is confirmed by the fact that Imogen has been 
reading the letter to herself during the preceding speech (^aside) o/ 
lachimo. Having come to the end of it, she now turns to him and 
reads aloud the closing lines with their reference to himself. It 
was, moreover, natural that Pisanio should first write the loving 
messages that would form the substance of an absent husband's 
letter to his wife, and then close with commending the bearer to 
her courtesy. We can imagine that what Imogen reads aloud was 
preceded by something like " I send you this by my friend lachimo, 
who is going to Britain." 

31. What, are 77ien mad? Mrs. Jameson remarks on this 
scene : " In the interview between Imogen and lachimo, he does 
not begin his attack on her virtue by a direct accusation against 
Posthumus ; but by dark hints and half-uttered insinuations, such 
as lago uses to madden Othello, he intimates that her husband, in 
his absence from her, has betrayed her love and truth, and for- 
gotten her in the arms of another. All that Imogen says in this 
scene is comprised in a few lines — a brief question, or a more 
brief remark. The proud and delicate reserve with which she veils 
the anguish she suffers is inimitably beautiful. The strongest ex- 
pression of reproach he can draw from her is only, * My lord, I 
fear, has forgot Britain.' When he continues in the same strain, 
she exclaims in an agony, * Let me hear no more.' When he urges 
her to revenge, she asks, with all the simplicity of virtue, * How 
should I be revenged ? ' And when he explains to her how she is 
to be avenged, her sudden burst of indignation, and her immediate 
perception of his treachery, and the motive for it, are powerfully 



Scene VI] Notes 195 

fine : it is not only the anger of a woman whose delicacy has been 
shocked, but the spirit of a princess insulted in her court. It has 
been remarked [by Hazlitt] that 'her readiness to pardon lachimo's 
false imputation, and his designs against herself, is a good lesson to 
prudes, and may show that where there is a real attachment to vir- 
tue, there is no need of an outrageous antipathy to vice.' This is 
true ; but can we fail to perceive that the instant and ready for- 
giveness of Imogen is accounted for, and rendered more graceful 
and characteristic, by the very means which lachimo employs to 
win it ? He pours forth the most enthusiastic praises of her hus- 
band, professes that he merely made this trial of her out of his 
exceeding love for Posthumus, and she is pacified at once ; but, 
with exceeding delicacy of feeling, she is represented as maintain- 
ing her dignified reserve and her brevity of speech to the end of 
the scene." 

32. Crop. Produce. Cf. iv. 2. i8i below. 

34. Twinfi'd, "As like as twins" (Steevens). Johnson did 
not " understand " the word, and conjectured " twin'd " = " twisted, 
convoluted," though, as he added, " this sense is more applicable 
to shells than to stones." 

35. The unnu7?iber^ d. The folios have " the number'd ; " cor- 
rected by Theobald. Cf. the parallel passage in Lear, iv. 6. 21 : — 

" The murmuring surge 
That on the unnumber'd idle pebble chafes, 
Cannot be heard so high." 

Some, however, retain '* number'd," which Clarke explains as " com- 
posed of numbers,'^ and Schmidt as " rich in numbers, abundantly 
provided." Other emendations have been proposed. 

36. Spectacles. Organs of vision, eyes ; as in 2 He7i. VI. iii. 2. 

112 : — 

" And even with this I lost fair England's view, 
And bid mine eyes be packing with my heart, 
And call'd them blind and dusky spectacles, 
For losing ken of Albion's wished coast." 



196 



Notes [Act I 



37. Makes your admiration? Causes your astonishment. See 
on i. 4. 5 above. 

39. Shes, Cf. i. 3. 29 above. 

40. Mows, Grimaces. Cf. Temp. iv. i. 47 : — 

" Each one, tripping on his toe, 
Will be here with mop and mow." 

We find the verb in Id. ii. 2. 9 : *' Sometime like apes, that mow 
and chatter at me." 

41. Favour, Beauty; as in Ham. iv. 5. 189 and 0th. iv. 3. 21. 
It is often = personal appearance, aspect ; as in iii. 4. 48 and iv. 
2. 105 below. 

42. Be wisely definite. Be wise in deciding, or "wisely free 
from hesitation" (Schmidt). S. uses defi^iite nowhere else. 

44. Vomit emptiness, Warburton explained the passage thus : 
"That appetite which is not allured to feed on such excellence can 
have no stomach at all, but, though empty, must nauseate every 
thing." Johnson, on the other hand, interpreted it thus : ''^ De- 
sire, says he, when it approached sluttery, and considered it in 
comparison with such neat excellence^ would not only be not so 
allured to feed, but, seized with a fit of loathing, would vomit einp- 
tiness, would feel the convulsions of disgust, though, being unfed, 
it had no object." Later, in defending his explanation, he added 
this thoroughly Johnsonian definition : " To vomit emptiness is, in 
the language of poetry, to feel the convulsions of eructation with- 
out plenitude." Malone remarks that " no one who has been ever 
sick at sea can be at a loss to understand what is meant by vomit- 
ing e77iptiness.^^ Johnson evidently had the right idea of the pas- 
sage, which must mean that desire would turn to disgust and 
nausea, not from satiety, but before it was gratified. 

46. Trow ? When used alone or added to questions, "expressive 
of contemptuous or indignant surprise " (Schmidt) and = I wonder. 
Cf. Much Ado, iii. 4. 59 : " What means the fool, trow ?" 

48. Ravening, Ravenously devouring. Cf. Macb, ii. 4. 28, where 



Scene VI] Notes 197 

we have "ravin up;" but m M. for M, i. 2. 133, "ravin down." 
Here the spelling of the folio is " Rauening." Cf. R. a7id J. iii, 

2. 76, where it has "Woluish-rauening Lambe." 

50. Raps, Apparently the verb of which 7'apt ( = transported) 
is the participle, though rarely found in the indicative. S. uses it 
nowhere else. 

51. Desire my 7nan*s abode. That is, ask him to remain. For 
abode used with reference to tiine^ cf. M. of V, ii. 6. 21 : " Your 
patience for my long abode," etc. 

53. Strange and peevish, "A foreigner and a simpleton" 
(Clarke). For strange^ cf. 190 below; and for /^^z^/j/^ = silly, 
foolish (its ordinary if not its only meaning in S.), cf. Rich. III. i. 

3. 194, iii. I. 31, iv. 2. 100, etc. For a very clear instance of this 
sense, see Lyly, Eiidymion (quoted by Nares) : "There never was 
any so peevish to imagine the moone either capable of affection or 
shape of a mistris." 

58. None a, Cf. i. 4. 103 above: "none so accomplished a 
courtier," etc. 

65. Gallian, The word occurs again in i Hen, VI. v. 4. 139. 
S. does not use Gallic. Furnaces is the only instance of the verb 
in S. Cf. A. Y, L, ii. 7. 148 : — 

"And then the lover, 
Sighing like furnace," etc. 

67. From ^s. See on i. 1.4 above. 

69. Proof Experience ; as in iii. 3. 27 below. 

78. In himself V is much, etc. " If he merely regarded his own 
character, without any consideration of his wife, his conduct would 
be unpardonable" (Malone). Herford's explanation is perhaps 
better : " That he is not grateful for his own gifts is much ; that 
he is not grateful for you, his gift beyond price, fills me with won- 
der and pity." 

83, Wrack. The only spelling of wreck in the early eds. It 
rhymes to alack in Per. iv. prol. 12, and to back in V, aitd A. 558, 
R. of I. 841, 965, Sonn. 126. 5, and Macb. v. 5. 51. 



19B Notes [Act 1 

84. Deserves, The omission of the relative is common. Cf. 169 
below. 

85. Solace. Find solace or happiness. Cf. Rich. III. ii. 3. 30: 
"This sickly land might solace as before ; " and R, and J. iv. 5. 
47 : " But one thing to rejoice and solace in." 

86. Snuff. That is, a snuffed candle. Cf. Ham. iv. 7. 116, 
Lea7', iv. 6. 39, etc. 

91. Venge. Not " 'venge," as often printed. Cf. vengeance, 
vengeful^ etc. 

94. Doubti7ig things go ilL Suspecting or fearing that things 
go ill. Cf. K, John, iv. i. 19 : — 

" but that I doubt 
My uncle practises more harm to me." ' 

96. Or, timely k7iowi7ig, etc. Elliptically expressed, though the 
sense is clear. 

98. What both you spur and stop. " What it is that at once 
incites you to speak and restrains you from it" (Johnson); or 
"vi^hat you seem anxious to utter, and yet withhold" (Mason). 
Cf. W. T. ii. I. 187 : " Shall stop or spur me." 

107. By-peepi7ig. Looking aside, or "apart from or between 
the more serious occupations of his debauch" (Ingleby). 

108. U7ilustrous. Rowe's emendation of the " illustrious " of the 
folios. Possibly S. wrote " illustrous " (= not lustrous), but that 
word has not been found elsewhere in that sense. In Chapman's 
Odyssey it is = illustrious. Ingleby reads " ill-lustrous." 

III. E7icou7iter such revolt. Meet such apostasy. Revolt is 
often used of faithlessness in love ; as in R.a7td J. iv. I. 58, 0th. 
iii. 3. 188, etc. Cf. iii. 4. 55 below. 

112-114. Not /, etc. I do not tell you this willingly, or because 
I feel any pleasure in it. 

115. Mutest. That would otherwise be most silent. Abbott 
thinks it may mean " the mutest part or corner of my conscience." 

116. Char77ts. The plural relative often takes a singular verb. 



Scene VI] Notes 199 

119. Empery, Empire; as in Rich, III, iii. 7. 136: "Your 
right of birth, your empery, your own," etc. 

120. Greafst, See on i. i. 96 above. 

121. To7?iboys. Hoidens ; the only instance of the word in S. 
That self exhibition = " the very pension which you allow your 
husband" (Johnson). For j<?^= same, cf. M. of F". i. i. 148: 
"that self way; " C. of E. v. i. 10: "that self chain," etc. For 
exhibition = allowance (the only sense in S.), cf. T. G. of V. i. 3. 

69:- 

" What maintenance he from his friends receives, 
Like exhibition thou shalt have from me." 

See also Lear, i. 2. 25, 0th. i. 3. 238, iv. 3. 75, etc. 

124. BoiPd stuff. For the allusion to the treatment for certain 
diseases, cf. T. of A. iv. 3. 84 fol. or Heii. V. ii. i. 79. 

127. Recoil. Fall off, prove degenerate ; as in Macb. iv. 3. 19 : — 

" A good and virtuous nature may recoil 
In an imperial charge." 

129. As, For. For such . . . that, see on i. 4. 52 above. 

130. Abuse, Deceive. See on i. 4. 123 above. 

131. Me, lachimo is putting himself in Imogen's place. The 
change of person in the latter part of the sentence is not uncom- 
mon in S. Cf. 31-35 above, and see on i. i. 119. 

132. Priest, For the gender, cf. Per, v. i. 243: "my maiden 
priests," etc. 

133. Ramps, "Leaps" (Schmidt). Cf. Milton, S. A, 139: 
"Red from his lion ramp" (spring, or attack). So the verb = 
leap, in P. L, iv. 343 : " Sporting the lion ramp'd." Some take 
the noun here to be = harlots, a sense of which Xares quotes 
instances. S. uses it nowhere else. 

138. What ho, Pisafiio ! "Observe how, upon the villain re- 
vealing himself, she does not even answer him, but calls her faith- 
ful servant to her side before replying" (Clarke). 



200 Notes [Act I 

148. Acquainted of. Cf. Much Ado^ iii. I. 40: "to acquaint her 
of it," etc. 

150. Saucy, Often used by S. in a much stronger sense than 
the modern one. Cf. 0th. i. i. 129: "bold and saucy wrongs ; " 
/. C. i. 3. 12:- 

" Or else the world, too saucy with the gods, ■ 

Incenses them to send destruction," etc. 

151. Romish. Apparently contemptuous for Roman, but not 
always so used. Steevens cites Glapthorne, Wit in a Constable: 
" A Romish cirque or Grecian hippodrome ; " and Drant, Hoi^ace : 
" The Romishe people wise in this," etc. S. uses the word only here. 

153. Who. Often = whom. Cf. iv. 2. 77 below. 

154. Not respects. A common transposition. Cf. Tei7ip. ii. I. 
121 : "I not doubt," etc. See also iv. 4. 23 below. 

159. Sir. Cf. 174 and v. 5. 145 below. It is sometimes ironi- 
cal, as in i. i. 166 above. 

161. Most worthiest. For the double superlative, cf. ii. 3. 2 and 
iv. 2. 320 below. 

162. Affiance. Faith, fidelity. Cf. Hen. V. ii. 2. 127: "The 
sweetness of affiance," etc. 

165. Witch. For the masculine use, cf. C. of E. iv. 4. 160 and 
A, and C. i. 2. 40. 

166. Into. Clarke remarks that the word " accords with the image 
presented of enchanting those around him into his magic circle." 

169. Sets. For the omission of the relative, cf. 84 above. 

171. Adventur'^d, Ventured ; as in W, T, iv. 4. 470, R, and J, 
V. 3. II, etc. 

176. Fan. The metaphor is taken from the process of winnow- 
ing grain, as chaffless shows. Cf. Heii. VIII. v. i. ill ; — 

" I humbly thank your highness ; 
And am right glad to catch this good occasion 
Most throughly to be winnow'd, where my chaff 
And corn shall fly asunder." 



Scene I] Notes 20 1 

190. Curious. Careful. Cf. A. W. i. 2. 20: "Frank nature, 
rather curious than in haste," etc. For strange, see on 53 above. 

199. Short. Impair, infringe. For the antithesis, cf. P. P. 210: 
" Short, night, to-night, and length thyself to-morrow.'^ 

206. Oiitstood. Outstaid. S. uses the word only here, and out- 
stay only in A. V. L. i. 3. 90. 

207. The tejider of our present. The presentation of our gift. 



ACT II 

Scene I. — 2. Kissed the jack, etc. "He is describing his fate 
at bowls. The jack is the small bowl at which the others are 
aimed. He who is nearest to it wins. To kiss the jack is a state 
of great advantage" (Johnson). Up07i an up-cast means " by a 
throw from another bowler directed straight up." 

4. Take me up. Rebuke, scold ; with a play upon the expres- 
sion. Cf. T. G. of V. i. 2. 135 : "I w^as taken up for laying them 
down," etc. 

17. Smelt. For the quibble on rank, cf. A. V. L. i. 2. 113. 

21. Jack-slave. A term of contempt; Y^t Jack in Rich. III. i. 
3.72: — 

" Since every Jack became a gentleman, 
There 's many a gentle person made a Jack." 

24. And capon too. Perhaps with a play on " cap on," that is, 
the fool's coxcomb (Schmidt) . 

26. Say est thou ? What do you say ? Cf. iv. 2. 380 below : 
" Say you, sir ? " See also 0th. iii. 4. 82, etc. 

27. Undertake every co??ipanioji. Give satisfaction to every fel- 
low. For the contemptuous use of companion, cf. M. W. iii. I. 
121,, J. C. iv. 3. 138, etc. Johnson transferred this speech to the 
first lord, but it is probably an ironical reply to Cloten's question 
as to what he is saying to himself. 



202 Notes [Act II 

49. Issues. Proceedings, acts. 

57. For his heart. For his life, as we should say. Cf. M. of V. 
V. I. 165, T. of S. i. 2. 38, etc. 

59. Divine. Accented on the first syllable, because preceding 
the noun. Cf. iv. 2. 171 below, and see on supreme^ i. 6. 4 above. 

65. Unshak'd. Cf. /. C. iii. i. 70: " Unshak'd of motion." 
Elsewhere (twice) we have unshaken. Cf. shak'd in i. 5. 76 above. 

Scene II. — i. The stage-direction in the folio is : " Enter Imo- 
gen, in her Bed, and a Lady.'''' The bed was pushed upon the stage 
from behind the curtains at the back. 

4. Left. Left off; as in i. 4. 108 above. 

9. Fairies. For malignant fairies, cf. Ham. i. I. 163, C. of E, 
ii. 2. 191, iv. 2. 35, etc. 

13. Rushes. In the time of S. floors were strewn with rushes. 
Cf. T. of S. iv. I. 48, R. and J. ii. 2. 13, etc. S. transfers the cus- 
tom to Rome, as in R. of L. 316: "He takes it [a glove] from the 
rushes where it lies." 

14. Cytherea. Venus. Cf. T, of S. ind. 2. 53 and W, T. iv. 4. 
122. 

15. Bravely. Well, admirably; as in ii. 4. 73 below. Cf. the 
adjective in iv. 2. 320 below. 

16. Whiter than the sheets. Cf. V. and A. 398: "Teaching 
the sheets a whiter hue than white ; " and R. of L. 472 : " Who 
o'er the white sheets peers her whiter chin." 

22. Windows. The eyelids; as in R, a7td /. iv. I. icx), Rich. 
III. v. 3. 116, etc. The zvhite and azure, etc., refers to the white 
skin laced with blue veins. Exquisite as the description is, some 
of the editors have attempted to emend it. 

23. Tinct. Dye; as in Hai7i. iii. 4. 91 : "will not leave their 
tinct." In A. W. v. 3. 102 and A. and C. i. 5. 37, the word 
means the "tincture" or "grand elixir" of the alchemists. 

26. The arras-figures. The folio has " the Arras, Figures," 
which is followed by some of the modern editors ; but Mason's 



Scene III] Notes 203 

emendation in the text is to be preferred. It is \}i\^ Jigiwes of the 
tapestry that he wishes particularly to note ; though he remembers 
the material also, as we see by ii. 4. 69 below. 

31. Ape. Imitator. Cf. W. T.v.2. 108: " Julio Romano, who 
. . . would beguile Nature of her custom, so perfectly he is her ape." 

32. As a 7?ionume?it. S. was thinking of the recumbent full- 
length figures so common on the tombs of his day. Cf. R. of L. 
391 : "Where like a virtuous monument she lies." 

34. The Gordian knot. Cf. Hen. V. \. i. 46: *'The Gordian 
knot of it he will unloose." 

37. Madding. Cf. iv. 2. 314 below. S. does not use maddest. 

38. Cinqtie- spotted. Having five spots. 

41. Force hitn think. In Elizabethan English the to of the in- 
finitive is often omitted where it is now inserted, and vice versa. 

45. The tale of Tereiis. Cf. T. A. ii. 4. 26 foL, iv. i. 48 fol. 
zxi^R. ofL. 1 1 28 fol. 

48. Dragons of the itight. Cf. M. N'. D. iii. 2. 379 : " For night's 
swift dragons cut the clouds full fast ; " T. and C v. 8. 17: "The 
dragon wing of night ; " Milton, // Pe7ts. 59 : " While Cynthia 
checks her dragon yoke," etc. 

49. Bare the raveii's eye. The bird being reported to wake at 
early dawn. 

50. This. Perhaps = this is, the verb being absorbed, as in 
Lear, iv. 6. 187: " this' a good block." Cf. iii. 6. 89 below. 

51. 07ie, two, three. Malone complains of the inconsistency of 
time, as it was almost midnight only a few minutes before (line 2) ; 
but, as Daniel remarks, "stage time is not measured by the glass" 
(hourglass). Time, time! means that it is time for him to con- 
ceal himself. 

Scene III. — 2. Most coldest. See on i. 6. 161 above. 
15. So. Be it so, well and good ; as often. 

17. After. Often — afterw^ards ; as in Te?np. ii. 2. 10, iii. 2. 158, 
/. C i. 2. 76, etc. 



204 Notes [Act II 

20. At heaverCs gate sings. Cf. Sonn. 29. II: — 

" Like to the lark, at break' of day arising 
From sullen earth, sings hymns at heaven's gate." 

See also Milton, P. L. v. 198: — 

" ye birds, 
That singing up to heaven-gate ascend." 

Reed suggests that S. had Lyly's Alexandei- and Cainpaspe in 

mind : — 

" who is 't now we hear ? 
None but the lark so shrill and clear ; 
Now at heaven's gate she claps her wings, 
The morn not waking till she sings. 
Hark, hark," etc. 

21. Gins. Begins ; but not a contraction of that word, as 
sometimes printed. 

23. Lies. For the form, see on charms^ i. 6. 116 above. Cf. 
V. and A. 1128: "two lamps, burnt out, in darkness lies." 

24. Winking. Often = with shut eyes. Cf. ii. 4. 89, v. 4. 189, 
192 below. Mary-buds = marigolds. 

26. JVit/i every thing that pretty is. Hanmer reads " With all 
the things that pretty bin ; " but the rhyme is not necessary in this 
ballad measure. 

30. Consider, Pay, requite ; with possibly a quibbling refer- 
ence to the other sense, as Clarke believes. Cf. W. T. iv. 4. 825 : 
" being something gently considered [if I have a gentlemanlike 
consideration given me], I'll bring you where he is aboard." So 
in The lie of Gulls^ 1633 • " Thou shalt be well considered, there 's 
tw^enty crowns in earnest." 

31. Calves'' -gilts. Changed by Rowe to " cat's-guts ; " but, ac- 
cording to Sir John Hawkins, Mersennus, in his De Instrtwtentis 
Har77tonicis, says that chords of musical instruments are made of 
" metal and the intestines of sheep or any other animals." Catgut 
was never made from the intestines of cats. 



I 



Scene III] Notes 205 

36. Fatherly, Adjectives in -ly are often used adverbially. See 
on iii. 6. 92 below. 

40. Music. The folios have "musics," which a few editors 
retain, as = pieces of music ; but this appears to be the first time 
that Cloten has employed music in his wooing. The plural occurs 
again in A. W. iii. 7. 40 : " musics of all sorts ; " where it is 
probably what S. wrote. 

42. Minion. Favourite, darling (Fr. mignon^ ; with a touch of 
contempt here, but not always so. Cf. i Hen. IV. i. i. 83 : "sweet 
Fortune's minion and her pride," etc. 

46. Vantages. Opportunities ; as in i. 3. 24 above. 

47. Prefer, Recommend ; as in iv. 2. 387, 401 below. 

48. Solicits. Not elsewhere used by S. as a noun. 

54. Yon are senseless. Must affect not to understand her. 
Cloten takes sefiseless to mean without sense, or stupid. 

55. So like you. If it please you. Cf. M. for M. ii. i. 33 : 
" Here, if it like your honour," etc. 

60. His goodness forespent ojt us. The good offices formerly 
done by him to us. Elsewhere forespent means past, foregone 
{Hen. V. ii. 4. 36), and exhausted (2 Hert. IV. i. i. 37). '^ Accord- 
ing to, before the honour, allows according to or for the sake of to 
be elliptically understood before his goodness'''' (Clarke). 

68. line. Cf. Per. iv. 6. 63 : "line your apron with gold." 

70. Diands ra^igers. Diana's nymphs ; literally, her forest 
rangers, or game-keepers. For false as a verb, cf. C. of E, ii. 2. 
95 : "a thing falsing," etc. 

71. Stajid. "The station of huntsmen waiting for game" 
(Schmidt). Cf. iii. 4. 109 below. See also M. W. v. 5. 248, 
Z. Z. Z. iv. I. 10, etc. 

72. True. Honest. For the antithesis to thief cf. V, ajzd A, 
724 : " Rich preys make true men thieves ; " M.for M. iv. 2. 46: 
" Every true man's apparel fits your thief; " Much Ado, iii. 3. 54 : 
" If you meet a thief, you may suspect him, by virtue of your office, 
to be no true man," etc. 



2o6 Notes [Act II 

76. Yet not understand. For the transposition of yet, cf. v. 5. 
468 below. 

82. Is she ready ? Is she dressed ? Ready was often used in 
this special sense, but the lady chooses to take it in its more gen- 
eral signification. 

88. You lay out too much pains, etc. Mrs. Jameson remarks : 
*' Cloten is odious ; ^ but we must not overlook the peculiar fitness 
and propriety of his character, in connection with that of Imogen. 
He is precisely the kind of man who would be most intolerable to 
such a woman. He is a fool, — so is Slender, and Sir Andrew 
Aguecheek : but the folly of Cloten is not only ridiculous, but 
hateful ; it arises not so much from a want of understanding as a 
total want of heart ; it is the perversion of sentiment, rather than 
the deficiency of intellect ; he has occasional gleams of sense, but 
never a touch of feeling. Imogen describes herself not only as 
* sprighted with a fool,' but as * frighted and anger'd worse.' No 
other fool but Cloten — a compound of the booby and the villain 
— could excite in such a mind as Imogen's the same mixture of 
terror, contempt, and abhorrence. The stupid, obstinate malignity 
of Cloten, and the wicked machinations of the queen — 

• A father cruel, and a step-dame false, 
A foolish suitor to a wedded lady ' — 

1 The character of Cloten has been pronounced by some unnatural, 
by others inconsistent, and by others obsolete. The following passage 
occurs in one of Miss Seward's letters, vol. iii. p. 246: "It is curious 
that Shakespeare should, in so singular a character as Cloten, have 
given the exact prototype of a being whom I once knew. The unmean- 
ing frown of countenance, the shuffling gait, the burst of voice, the 
bustling insignificance, the fever-and-ague fits of valor, the froward 
tetchiness, the unprincipled malice, and, what is more curious, those 
occasional gleams of good sense amidst the floating clouds of folly 
which generally darkened and confused the man's brain, and which, 
in the character oi Cloten, we are apt to impute to a violation of unity 
in character ; but in the sometime Captain C , I saw that the por- 
trait of Cloten was not out of nature." 



Scene III] Notes 207 

justify whatever might need excuse in the conduct of Imogen — as 
her concealed marriage and her flight from her father's court — 
and serve to call out several of the most beautiful and striking 
parts of her character : particularly that decision and vivacity of 
temper v^^hich in her harmonize so beautifully with exceeding deli- 
cacy, sweetness, and submission. 

" In the scene with her detested suitor, there is at first a careless 
majesty of disdain, which is admirable. . . . But when he dares to 
provoke her, by reviling the absent Posthumus, her indignation 
heightens her scorn, and her scorn sets a keener edge on her 
indignation." 

92. ' T were as deep zuiih me. It would make as deep an im- 
pression upon me. Deep is elsewhere associated with swearing ; 
as in Sonn, 152. 9 : "I have sworn deep oaths; " R. of L, 1847 • 
"that deep vow; " and K. John, iii. I. 231 : "deep-sworn faith." 

97. Equal discourtesy., etc. That is, discourtesy equal to your 
best kindness. For the transposition, cf. 0th. v. 2. 4 : " that 
whiter skin of hers than snow," etc. See also iii. 4. 106 below. 

98. Knozvhtg. See on i. 4. 30 above. 

99. Should learn, being taught, etc. "A man who is taught for- 
bearance should learn it " (Johnson). 

102. Fools are not mad folks. "This, as Cloten very well un- 
derstands it, is a covert mode of calling him fool. The meaning 
implied is this : If I am mad, as you tell me, I am what you can 
never be, * Fools are not mad folks'" (Steevens). Theobald 
changed are to " cure," which some editors adopt. It certainly 
gives a simpler sense, and is favoured by the cures just below, but 
no change is imperatively demanded. 

107. Verbal. " Plain-spoken, wording one's thoughts without 
reserve " (Schmidt) ; or " so explicit, so expressing in speech that 
which I think of you " (Clarke). 

108. Which. Often = who in Elizabethan English. 

120. Self-figur''d. Formed by themselves (Johnson). 

121. Curb* d from that enlargement. Restrained from that liberty. 



2o8 Notes [Act II 

122. Consequence. Succession. Schmidt thinks it may pos- 
sibly mean " considerations affecting the crown." 

123. Note, Distinction, eminence. Cf. i. 4. 2 and i. 6. 22 
above. 

124. Hilding. Hireling, menial. Cf. 7". of S. ii. i. 26, A. W. 
iii. 6. 4, etc.; and for the adjective use, 2 Hen, IV, i. i. 57 and 
He7t. V, iv. 2. 29. For — only fit for. A squire'' s cloth = a 
lackey's dress ; in opposition to livery, 

125. Pantler, The servant who had charge of the pantry. Cf. 
W, T, iv. 4. 56 : " pantler, butler, cook ; " and 2 Hen. IV. ii. 4. 
258 : " a' would have made a good pantler, a' would have chipped 
bread well." Profane is accented on the first syllable, because 
preceding the noun. Cf. 0th. i. i. 115 : "What profane wretch 
art thou ?" See on divine, ii. i. 59 above. 

130. Comparative for your virtues. That is, if the ofHce were 
given you in comparison with, or with regard to, your merits. 

132. Preferred. Promoted, advanced ; as in v. 5. 326 below. 

The south-fog rot him! Cf. T. and C, v. I. 21 : "the rotten 
diseases of the south ; " 2 Hen. IV. ii. 4. 392 : " the south borne 
with black vapour," etc. See also iv. 2. 350 below. 

135. Clipped, Embraced. Cf. v. 5. 450 below. 

139. Presently, Immediately; the most common meaning in 
S. Cf. iii. 2. 75 and iv. 2. 167 below. So /r^^^/z/ = immediate ; 
as in ii. 4. 136 below. 

140. Spritedwith, Haunted by; the only instance of the verb 
in S. 

142. Jewel. See on i. 4. 165 above. Too casually ^^hy an 
accident which I should not have allowed to happen. 

143. ''Shrew me. Beshrew me ; a mild form of imprecation, 
often used as a mere asseveration. 

144. Revenue, Accented by S. on the first or second syllable 
as suits the measure. See p. 170 above. 

154. She''s my good lady. She 's my good friend; spoken ironi- 
cally. 



I 



Scene IV] Notes 209 

Scene IV. — 2. Bold. Confident; as in ^. /^. v. i. 5 : "Be 
bold you do so grow in my requital," etc. 

6. Fear'd. Mingled with fear. 

12. Throughly. Thoroughly; as in iii. 6. '^(^ below and often. 
Cf. through-fa7'e in i. 2. 10 above. 

14. Or look upon. Before he will face. For or = before, cf. 
Ham. i. 2. 183: — 

" Would I had met my dearest foe in heaven 
Or ever I had seen that day, Horatio ! " 

It is often combined with ere, as in iii. 2. 65 and v. 3. 50 below. 

16. Statist. Statesman. Cf. Hafu. v. 2. 2,^ : " as our statists do." 
S. uses the word only twice. 

21. Jl/ore ordered. Better disciplined. 

24. Courages. For the plural, see on i. I. I above. 

25. Their approvers. Those who make trial of their valour. 
Cf. approve = try; as in M. A\ D. ii. 2. 68, W. T, iv. 2. 31, etc. 
The noun is used by S. only here. 

26. That. For its use with such, see on i. 4. 52 above. Cf. 44 
below. 

28. Winds of all the corners. Cf. Much Ado, ii. 3. 103 : " Sits 
the wind in that corner ? " 

49. Mtist not cojitinue friends. See i. 4. 173 fol. above. 

56. Apparent. Evident. Cf. Rich. II. i. I. 13, iv. I. 124,/. C. 
ii. I. 198, etc. 

58. Is. The singular verb is often found with two singular sub- 
jects. Cf. iii. 3. 99 and v. 2. 2 below. 

61. My circu7nstances. That is, the particulars I shall give. 

68. Watching. Keeping awake y^r. Y ox watching, Q,i. T.ofS. 
iv. I. 208: "She shall watch all night," etc. See also the noun in 
iii. 4. 40 below. 

70. When she met her Rojjtan, etc. Cf. A. and C. ii. 2. 191 fol. 
Johnson remarks : " lachimo's language is such as a skilful villain 
would naturally use — a mixture of airy triumph and serious depo- 

CYMBELINE — 1 4 



2 TO Notes [Act II 

sition. His gayety shows his seriousness to be without anxiety ; 
and his seriousness proves his gayety to be without art." 

73. Bravely, See on ii. 2. 15 above. That it did strive^ etc. ; 
that is, it was doubtful whether the workmanship or the value was 
the greater. 

76. Since the true life on V was — . This is the folio pointing, 
and removes all difficulty from the passage ; but attempts at emen- 
dation have been made. 

2>2i» So likely to report themselves. That is, they were so lifelike 
that one might expect them to speak. 

84. Was as another nature, etc. " The sculptor was as nature, 
but as nature dumb ; he gave every thing that nature gives but 
breath and motion. In breath is included speech^^ (Johnson). 

%%. Cherubins. The only form of the noun in S., except in 
Ham, iv. 3. 50, where cherub occurs. Fretted = embossed. 

89. Winking. With eyes shut or blind. See on ii. 3. 24 above. 

91. Depending on their brands. Leaning on their inverted 
torches. Cf. Sonn. 153. i: '* Cupid laid by his brand and fell 
asleep; " and Id. 154. 2: "Laid by his side his heart-inflaming 
brand." 

This is her honour! The expression is ironical : " And the 
attainment of this knowledge is to pass for the corruption of 
her honour!" (Johnson). 

95. Then, if you can, etc. Some point the passage thus: — 

" Then, if you can 
Be pale, I beg but leave to air this jewel ; " 

that is, seeing that he has produced no effect upon Posthumus as 
yet, he now says, '* If you can be pale, I will see what this jewel 
will do to make you change countenance." 

97. ' T is up. That is, put up. 

102. Outsell. The verb occurs again (the only other instance 
in S.) in iii. 5. 74 below. 

107. Basilisk. The fabulous serpent that was supposed to kill 



Scene I] Notes 211 

by a look. Cf. IF. T. i. 2. 388 : " Make me not sighted like the 
basilisk ; " also J^ic/i. III. i. 2. 151, Hen. V. v. 2. 17, etc. 

III. Bondage. Binding force, fidelity. 

127. Cognizance. The token, the visible proof. Cf. i Hen. VI. 
ii. 4. 108: "As cognizance of my blood-drinking hate.'' 

146. IijnbmeaL Limb from limb ; a compound like dropmeal, 
inchmeal {Temp. ii. 2. 3), d^nd piecemeal, which is still in use. 

150. Pervert Avert, turn aside. 

Scene V. — i. Is there noivay, etc. Steevens compares Milton, 
P. L. %Z% fol. 

8. Nonpareil. Paragon ; as in Temp. iii. 2. 108, T. N.\. 5. 273, 
etc. 

II. Pudency. Modesty; the only instance of the word in S. 

14. Motion. Impulse. Cf. K.John, i. i. 212, iv. 2. 255, etc. 

19. Change, Caprice ; as in lear, i. i. 291, etc. Perhaps cka?ige 
of prides — variety of prides. Cf. '*' change of honours " in Cor. ii. 
I. 214. 

20. Xice. Squeamish, affected. Cf. A. V. L. iv. i. 14, Hen. V. 
v. 2. 293, 299, etc. 

26. Write against tJiem. Denounce them, protest against them. 



ACT III 



Scene I. — 5. Thine taicle. As he was the brother of Lud, the 
grandfather of Cymbeline, he was the latter's great-uncle. 

6. Fa?7ious in CcEsar^s praises, etc. Not less famous in the praise 
Oesar gave him than his deeds deserved. 

II. There be. Cf. Teuip. iii. i. i: "There be some sports are 
painful," etc. 

15. From 'j. See on i. 1.4 above. 

18. Bravery. " State of defiance " (Schmidt). 



212 Notes [Act III 

19. Paled in. Enclosed. Cf. A. and C, ii. 7. 74: "Whate'er 
the ocean pales, or sky inclips," etc. 

24. Came and saw and ovei^caine. Cf. 2 Hen. IV. iv. 3. 45 : "I 
may justly say, with the hook-nosed fellow of Rome, I came, saw, 
and overcame." 

27. Ignorant. " Unacquainted with the nature of our boister- 
ous seas" (Johnson). 

30. At point. On the point, about ; as in iii. 6. 17 below. 

31. Giglot. False, fickle. For the noun (= harlot), see M. for 
M. V. I. 352: "Away with those giglots," etc. Cf. K. John^ iii. i. 
61 (and Ham. ii. 2. 515) : ** strumpet fortune." 

As Malone remarks, S. has here transferred to Cassibelan an 
adventure which happened to his brother Nennius. "The same 
history," says Holinshed, " also maketh mention of Nennius, brother 
to Cassibellane, who in fight happened to get Caesar's sword fast- 
ened in his shield by a blow which Caesar stroke at him." Nennius 
died a fortnight after the battle of the hurt he had received at 
Caesar's hand, and was buried with great pomp. Caesar's sword 
was placed in his tomb. 

32. lud^s town. London. Cf. iv. 2. 100, 124, and v. 5. 480 
below. 

36. Moe, More ; used only with a plural or a collective noun. 
Cf. 64 and V. 3. 72 below. 

37. Oive. Own ; as often. 

48. Injurious, Often used as a personal term of reproach = 
unjust, insolent, malicious, etc. Cf. iv. 2. 87 below. 

51. Against all colour. Contrary to all show of right. Cf. i 
Hen. IV. iii. 2. 100 : " of no right, nor colour like to right," etc. 

57. Franchise. Free exercise. Whose refers of course to laws. 

60. The first of Britain, etc. The title of the first chapter of 
the third book of Holinshed's Englaitd is, "Of Mulmucius, the 
first king of Britain who was crowned with a golden crown, his 
laws, his foundations," etc. 

64. Moe. See on 36 above. The form was going out of use in 



Scene 11] Notes 213 

the time of S., as is evident from the frequent substitution of more 
in the 2d folio, printed in 1632. Cf. v. 3. 72 below. 

72. He to seek of me, etc. His seeking of me, etc. Perforce = 
by force ; as in A. V. L. i. 2. 21, etc. 

73. Keep at utterance. Keep at the extremity of defiance (the 
Fr. a outrance), or defend to the uttermost. Cf. Macb, iii. i. 72: 
"Champion me to the utterance." Dr. Ingleby makes at utterance 
— " ready to be put out, or staked, like money at interest." / am 
perfect — I am assured, I know well. Cf. W. T, iii. 3. i : — 

"Thou art perfect, then, our ship hath touch'd upon 
The deserts of Bohemia ? " 

See also iv. 2. 119 below. 

77. Let proof speak. Let the trial show. 

86. Re??iain. For the noun, cf. Cor. i. 4. 62 : " make remain " 
(rrstay). 

Scene II. — 5. As poisojtous tongiied as handed. In the time 
of Elizabeth the Italians were noted for their skill in the art of 
poisoning. 

9. Take hi. Subdue. Cf. Cor. i. 2. 24: "To take in many 
towns" (see also iii. 2. 59); A. and C. i. i. 23: "Take in that 
kingdom and enfranchise that " (see also iii. 7. 24 and iii. 13. ^^^^ 
etc. The phrase occurs again in iv. 2. 122 below. 

10. Thy mi7td to her, etc. "Thy mind, compared to her fine 
nature, is as low as were thy fortunes in comparison with her 
rank" (Clarke). 

21. Fedary. Accomplice, confederate. Cf. J/. /^r J/, ii. 4. 122 : 
" If not a fedary," etc. We find federary in the same sense in 
W. T. ii. I. 90: "A federary with her." 

23. I am ignorant in what I am com?na7ided. I will appear not 
to know of this deed which I am commanded to perform. 

27. Learned. The usual form in S. is /^^rw^^ii' (dissyllabic), as 
now. 



i 



114, Notes [Act m 

28. Characters, Handwriting. Cf. W. T. v. 2. -^Z-. "the let- 
ters of Antigonus, which they know to be his character," etc. 

33. Mecfcinable. Spelt " medcinable " in the first three folios, 
indicating the pronunciation, which is the same elsewhere in S. 

34. For it doth physic love. " That is, grief for absence keeps 
love in health and vigour" (Johnson). Cf. W, T,\, I. 43, Macb. 
ii. 3. 55, etc. 

35. Good wax, thy leave. Cf. Z". TV. ii. 5. 103 : *' By your leave, 
wax ; " and Lear, iv. 6. 264 : " Leave, gentle wax." 

38. Forfeiters. That is, those who forfeit the bonds to which 
they have set their seal. As Verplanck remarks, the allusion shows 
technical familiarity with the laws of that day. The seal was essen- 
tial to the bond, though a signature w^as not ; and forfeiters was the 
technical term for those who had broken a contract and become 
liable to the legal penalty. 

39. Tables. Tablets, letters. Cf. T, G. of V. ii. 7. 3 : — 

" Who art the table wherein all my thoughts 
Are visibly character'd and engrav'd ; " 

and T, and C, iv. 5. 60 : — 

"And wide unclasp the tables of their thoughts 
To every ticklish reader." 

41. Could not be so cruel to vie, as you . . . would even renew me 
with your eyes. If this is what S. wrote, the meaning seems to be : 
could not be so cruel to me but that the sight of you would revive 
me. Clarke may be right in assuming that "the phraseology is 
purposely obscure and enigmatical, and conveys a double idea " — 
the one given above, and " a secondary one (perceptible to the 
reader of the play), * could not be so cruel to me as you' (in the 
supposed wrong she has done him who writes to her)." Staunton 
also thinks that the passage may have been " intended to be 
enigmatical." 

48. O,for a horse, etc. Mrs. Jameson remarks: "In the eager- 
ness of Imogen to meet her husband there is all a wife's fondness, 



Scene II] Notes 215 

mixed up with the breathless hurry arising from a sudden and joy- 
ful surprise, but nothing of the picturesque eloquence, the ardent, 
exuberant, Italian imagination of Juliet, who, to gratify her impa- 
tience, would have her heralds thoughts, press into her service the 
nimble-pinioned doves and wind-swift Cupids, change the course 
of nature and lash the steeds of Phoebus to the west. Imogen 
only thinks * one score of miles, 'twixt sun and sun,' slow travelling 
for a lover, and wishes for a horse with wings." 

50. Mean affai?^s. Ordinary business. 

54. Bate! Abate (but not that word contracted), quaHfy what 
I say. Cf. Temp. i. 2. 250 : " bate me a full year," etc. 

56. Beyond beyond ! " Further than beyond ; beyond anything 
that desire can be said to be beyond" (Reed). It is not a mere 
repetition of beyond, as pointed in the folios and some modern eds. 
Speak thick = speak fast. Cf. 2 I/en. IV. ii. 3. 24: "And speak- 
ing thick, which nature made his blemish," etc. 

64. And our return. . Cf. Cor. ii. i. 240 : — 

" He cannot temperately transport his honours 
From where he should begin and end." 

In the present passage the irregular construction is in keeping with 
the rest of the speech. "The elliptical style, the parenthetical 
breaks, the fluttering from point to point in the varied clauses, all 
serve admirably to express the happy hurry of spirits and joyous 
impatience of the excited speaker" (Clarke). 

65. Or ere. Before. See on ii. 4. 14 above. The meaning is : 
" Why should I contrive an excuse before the act is done for which 
excuse will be necessary ?" (Malone). 

73. That run V the clock's behalf. That is, the sands of the 
hourglass, which serve instead of a clock. 

77. Frajiklui^s, K frankli7i is literally 2^ freeholder, with a small 
estate, neither villain nor vassal (Johnson). Cf. W. T. v. 2. 173: 
" Not swear it, now^ I am a gentleman ? Let boors and franklins 
say it, I '11 swear it." 



2 1 6 Notes [Act III 

Vou We best consider. You were best (it were best for you) to 
consider. Cf. W. T. v. 2. 143: "you were best say these robes are 
not gentlemen born," etc. The yoti was originally the dative. 

78. / see before me^ etc. I see the course that lies before me ; 
no other, whether here or there, nor what may follow, but is doubt- 
ful or obscure. 

Scene III. — i. Keep house. Stay in the house. Elsewhere we 
find keep the house (^M. for M. iii. 2. 75), keep his house (Z*. of A. 
iii. 3. 42), etc. Cf. the use of housekeeper ( — one who stays at 
home) in Cor. i. 3. 55: "You are manifest housekeepers." 

2. Whose. For the relative after such, see on i. 4. 52 above. 

5. Jet. Strut, stalk. Cf. T. N. ii. 5. 36: "Contemplation makes 
a rare turkey-cock of him ! how he jets under his advanced 
plumes ! " 

6. Turbans. As Johnson notes, giants in the time of S. were 
generally represented as Saracens. The word is "Turbonds" or 
"Turbands" in the folios, and Johnson spells it " turbants." 

10. Yond. Not a contraction of yonder, as often printed. 

12. Like a crow. That is, "as little as a crow" (i. 3. 15 above). 

16. This service, etc. "In war it is not sufficient to do duty 
well ; the advantage rises not from the act, but the acceptance of 
the act" (Johnson). 

20. The sharded beetle, Cf. Macb. iii. 2. 42 : " The shard-borne 
beetle ; " and A. and C. iii. 2. 20 : "They are his shards, and he 
their beetle." The reference is to the horny wing-cases of the 
insect. Dr. Ingleby remarks ; " Observe that when Shakespeare 
speaks of the crawling beetle he calls him sharded, that is, covered 
by his shards ; but when he speaks of the flying beetle he calls 
him shard-borne, that is, supported in air by his outstretched 
shards." The shards, however, do not serve as wings, though S. 
apparently supposed they did. 

21. Full-wing\i. "This epithet sufficiently marks the contrast 
of the poet's imagery ; for whilst the bird can soar towards the sun 



Scene III] Notes 217 

beyond the reach of the human eye, the insect can but just rise 
above the surface of the earth, and that at the close of the day" 
(Henley). 

22. Attending for a check. Doing service only to get a rebuke 
for it. Cf. 0th. iii. 3. 67 : " To incur a private check," etc. So the 
verb = rebuke ; as in J, C. iv. 3. 97 : " Check'd like a bondman," 
etc. Verplanck explains it : " attending his prince only to suffer 
rejection or delay of his suit." 

23. Doing nothing for a bribe. The folios have " for a Babe." 
Bj'ibe is Hanmer's emendation, and is adopted by most editors. 
Rowe gave "bauble," which the Cambridge editors prefer. Ver- 
planck defends bribe thus : " It corresponds better than any other 
word with the preceding word richer ; and the mistake might easily 
have been made even in copying or printing from clearer manu- 
script than most authors make. The sense is good : ' Such a life of 
activity is richer than that of the bribed courtier, even though he 
pocket his bribe without rendering any return.' Such a thought is 
natural in Belarius, who had seen the vices of the great, and was 
perfectly intelligible to Shakespeare's audience, who lived in those 
* good old times ' when the greatest, and sometimes the wisest, were 
not only accessible to bribes, but expected them ; while every con- 
cern of life was dependent upon the caprice or the favour of those 
in power. A note in Knight's edition deduces the whole passage 
from some well-known lines of Spenser, in his Mother Hiibberds 
Tale, much resembling this train of thought. Our Poet had seen 
enough of this sort of life not to be obliged to describe it at second- 
hand ; yet he may have had Spenser's verses in his mind, and they 
certainly throw light on his meaning and corroborate the proposed 
correction of the text. The ' doing nothing for a bribe ' corresponds 
with Spenser's satirical glance at court life : — 

" ' Or otherwise false Reynold would abuse 
The simple suter, and wish him to chuse 
His Master, being one of great regard 
In Court, to compas anie sute not hard, 



21 8 Notes [Act III 

In case his paines were recompenst with reason. 
So would he worke the silly man by treason 
To buy his Masters frivolous good will, 
That had not power to doo him good or ill.' " 

The passage in Spenser quoted by Knight is the following, which 
occurs in close connection with the one cited by Verplanck : — 

" Full little knowest thou, that hast not tride, 
What hell it is in suing long to bide : 
To loose good dayes that might be better spent ; 
To wast long nights in pensive discontent ; 
To speed to day, to be put back to morrow; 
To feed on hope, to pine with feare and sorrow ; 
To have thy Princes grace, yet want her Peeres ; 
To have thy asking, yet waite manie yeeres ; 
To fret thy soule with crosses and with cares ; 
To eat thy heart through comfortlesse despaires ; 
To fawne, to crowche, to waite, to ride, to ronne, 
To spend, to give, to want, to be undonne. 
Unhappie wight, borne to desastrous end, 
That doth his life in so long tendance spend ! " 

24. Proiuier than rustling in unpaid-for silk. Knight remarks : 
" As \ve nave had the nobler and richer life, we have now the 
prouder. The mountain life is compared with that of rustling in 
unpaid-for silk. The illustrative lines which are added mean that 
such a one as does rustle in unpaid-for silk receives the courtesy 
{gains the cap) of him that makes him tine, yet he, the wearer of 
silk, keeps his, the creditor's, book uncrossed. To cross the book is, 
even now, a common expression for obliterating the entry of a debt. 
It belongs to the rude age of credit." 

25. Cap. Cf. Cor. ii. i. 77 : **'You are ambitious for poor 
knaves' caps and legs" (that is, for their obeisance) ; i Hen. IV. 
iv. 3. 168 : "The more and less came in with cap and knee," etc. 
Him refers of course to the merchant who has sold the silk which 
makes them fine, or the tailor who makes it into a garment. Cf. 



Scene III] Notes 1 1 9 

T. of S. ii. I. 319 : "my Katherine shall be fine; " and Id. iv. i. 
139: — 

" There were none fine but Adam, Ralph, and Gregory ; 
The rest were ragged, old, and beggarly." 

26. N'o life to otC7's, That is, that can be compared with ours. 
To occurs often in this sense. 

27. Proof Experience ; as i. 6. 69 above. 

29. What air ^s from home. What the air is away from home. 
Y ox from, see on i. 4. 17 above. 

35. To stride a limit. To go beyond his prison bounds. What 
should ive speak of etc. Johnson remarks : " This dread of an old 
age unsupplied with matter for discourse and meditation is a senti- 
ment natural and noble. No state can be more destitute than that 
of him who, when the delights of sense forsake him, has no pleas- 
ures of the mind." 

40. Beastly. Like mere beasts. 

41. Like warlike. Cf. Temp. iii. 3. 66: "like invulnerable," 
etc. 

43. Quire. The place ; but elsewhere in S. the singers. Choir 
is also used in both senses. Cf. Hejt. VIII. iv. I. 90 ("the choir 
sung") with Id. iv. I. 64 ("a prepared place in the choir "), and 
Sonn, 73. 4 (" bare ruin'd choirs "). 

58. N'ote. See on i. 4. 2 above. 

63. Hangi7igs. That is, the fruit hanging on the tree. 

73. Fore-end. Earlier part ; used by S. only here. 

83. /' the cave luherein they boiu. That is, which is so low that 
they must bow or stoop in entering it. Cf. 2 above. 

85. Prince it. Play the prince, bear themselves like princes. 

87. Who. See on i. 6. 153 above. 

90. Spirits. iMonosyllabic ; as often. 

96. Ill as like afigicre, etc. "Acting my words as graphically as 
his brother. ^Yhile Guiderius's gestures reflect the immediate im- 
pression of Belarius's tale, Arviragus, a more imaginative hearer, 



210 Notes [Act III 

heightens what he hears by his greater energy of conception " 
(Herford). 

99. K7207VS. See on ii. 4. 58 above. 

100. Whereon. We should now use wheretipon. 

103. Reffst. The foHos have " refts ; " a not uncommon eu- 
phonic contraction oi -test. Thus the folio has "Thou torments" 
in Rich. II. iv. i. 270 ; "Thou requests" in Rich. III. ii. I. 98, etc. 
In So7in. 19. 5 the contracted fleets ("fleet'st" in quarto) is neces- 
sary for the rhyme with sweets. 

105. Her grave. Changed by Hanmer to "thy grave ; " but see 
on i. 6. 131 above. Malone compares ActSy xvii. 2, 3. 

Scene IV. — i. When we came fro??i horse. Showing that they 
have performed the previous portion of their journey by riding, and 
have now alighted on account of the more rugged and mountain- 
ous district through which they are going. 

3. Have nozv. That is, have now longed. 

6. hiivard. For the noun, cf. Sonn. 128. 6 : "To kiss the ten- 
der inw^ard of thy hand." So otctzvard m i. i. 23 above. 

9. Haviour. Not a contraction of behaviour. 

11. Tender^ st . . . untejtder. This kind of [ingle or play upon 
words of the same or similar sound is common in the earlier plays. 

12. Smnnier 7iews. Cf. Sonn. 98. 4 : — 

" Yet nor the lays of birds, nor the sweet smell 
Of different flowers in odour and in hue, 
Could make me any summer's story tell." 

15. Drug-damn\i. Alluding to the notoriousness of Italian 
poisoning. Cf. iii. 2. 5 above. Oui-craftied is the folio form ; 
changed by some to "out-crafted.'* S. uses the word only here. 

17. Take off some extremity. That is, may break the bad news 
more gently than the letter. 

23. lie bleeding in me. That is, " my heart bleeds inwardly" 
(2 Hen. IV. ii. 2. 51) on account of them. 



Scene IV] Notes 221 

26. With. By ; as in ii. 3. 140 above and often. 

32. IVhat shall I need, etc. Why need I, etc. This use of what 
( = why) is especially common with need. Cf. C. of E. iii. 2. 15, 
Hen. VIII. ii. 4. 128,/. C. ii. i. 123, etc. 

35. Worms. Serpents. Cf. A. and C. v. 3. 243, 256, 261, 268, 
2S2, etc. Nile, like AHlus, is without the article in S. except in 
A. and C. ii. 7. 20. Cf. Tibe7' in Co7\ iii. i. 262, /. C. i. i. 50, 63, 
i. 2. 114, iii. 2. 254, etc. 

36. Posting winds. Cf. 2 ^^;2. /F". ind. 4 : "making the wind 
my post-horse." 

yj. States. Here = "persons of highest rank." Cf. K.John, ii. 
I. 395, etc. 

40. False to his bed! Mrs. Jameson remarks here : " In her first 
exclamations we trace, besides astonishment and anguish, and the 
acute sense of the injustice inflicted on her, a flash of indignant 
spirit, which we do not find in Desdemona or Hermione. This is 
followed by that affecting lamentation over the falsehood and injus- 
tice of her husband, in which she betrays no atom of jealousy or 
wounded self-love, but observes in the extremity of her anguish, 
that after his lapse from truth, * all good seeming would be discred- 
ited,' and she then resigns herself to his will with the most entire 
submission." 

41. In watch. Awake. Cf. Ham. ii. 2. 148: "Thence to a 
watch," etc. Cf. also the verb in ii. 4. 68 above. 

42. If sleep charge 7iatiire, etc. If sleep burden or oppress 
nature, etc. Cf. /. C. iii. 3. 2 : " things unlucky charge my fan- 
tasy ; " Macb. v. i. 60: "The heart is sorely charged," etc. 

43. Fearftil. Full of fear, anxious ; as often. 

49. Favour ''s. See on i. 6. 41 above. Jay is used as a term of 
reproach (= harlot); as in M. W. iii. 3. 44: "we '11 teach him 
to know turtles from jays." Warburton notes that the Italian 
putta (=ijay) is used in the same figurative sense. 

50. Whose mother was her painting. Who owed her beauty to 
her painted face ; a figure not unlike that in iv. 2. '^z below ; — 



222 Notes [Act m ^ 

4 

" No, nor thy tailor, rascal, 
Who is thy grandfather ; he made those clothes, 
Which, as it seems, make thee." 

Cf. Z^<7;', ii. 2. 6o : "a tailor made thee." Various unnecessary 
alterations have been made. 

52. For I am richer, etc. Because I am too valuable to be 
hung up like an old-fashioned garment ; a thoroughly feminine 
metaphor. ^lalone saw an allusion to tapestry hangings which 
" being sometimes wrought with gold and silver, were, it should 
seem, occasionally ripped and taken to pieces for the sake of the 
materials ; " but the preceding line shows plainly enough that the 
reference is to ripping up an old garment. The play on ripp'd is 
obvious. Cf. iii. 5. 86 below. 

58. False ^iieas. Referring to his treatment of Dido. 

59. Sinon's weeping. It was Sinon who persuaded the Trojans 
to admit the wooden horse into their city. On weeping, cf. Virgil, 
yEn. ii. 195 : — 

" Talibus insidiis perjurique arte Sinonis 
Credita res, captique dohs lacrijnisque coactis, 
Quos neque Tydides, nee Larissaeus Achilles, 
Non anni domuere decern, non mille carinae." 

For other allusions to Sinon, see R. of L, 1521, 1529, 3 Hen. VI. 
iii. 2. 190, and T. A. v. 3. 85. 

62. Wilt lay the leaven on all proper men. That is, " wilt infect 
and corrupt their good name (like sour dough that leaveneth the 
whole mass), and wilt render them suspected" (Upton). Cf. 
Hen. V. ii. 2. 126: — 

"O, how hast thou with jealousy infected 
The sweetness of affiance ! . . . 
And thus thy fall hath left a kind of blot 
To mark the full-fraught man and best indued 
With some suspicion." 



Scene IV] Notes 223 

Proper is explained by the goodly and gallant in the next line. 
Cf. M. of V. i. 2. 77 : " a proper man's picture," etc. 

64. FaiL For the noun, cf. W, T, ii. 3. 170, v. i. 107, 
Hen. VII I. i. 2. 145, ii. 4. 198, etc. 

66. A little witness^ etc. Bear some little testimony to, etc. 

77. There is a prohibition so divine, etc. Cf. Ham. i. 2. 132 : — 

" Or that the Everlasting had not fix'd 
His canon 'gainst self-slaughter." 

S. uses self- slaughter only in these two passages. For the relative 
after so, cf. y. C i. 2. 316: "For vv^ho so hrm that cannot be se- 
duc'd," etc. 

80. Obedient as the scabbard. That is, if you stab me, my 
bosom shall offer no more resistance than the scabbard does to 
the sword. 

81. Scriptures. Imogen uses the word for the antithesis to 
heresy. Some insert here the stage-direction, " Pulling his letters 
out of her bosom." 

88. Set up. Instigate. Set on is more common in this sense. 
Cf. i. 5. 73 above. 

91. Princely fellows. Those who were fellows or equals with 
myself in princely rank. 

92. Comj?io7i passage. Common occurrence. Cf. A. IV. i. i. 
20 : " how sad a passage 't is ! " 

93. A strain of rareness. A rare or unusual disposition. For 
rareness, cf. I Hen. IV. iii. 2. 59 : *' And won by rareness such 
solemnity," etc. 

94. Disedg''d. Surfeited (having the edge of one's appetite 
taken off). Cf. Temp. iv. i. 28 and Ham. iii. 2. 260. 

95. Ti7^^st on. To tire was to feed on ravenously, like a bird 
of prey. Cf. V. and A. 56 : — 

" Even as an empty eagle, sharp by fast, 
Tires with her beak on feathers, flesh, and bone, 



224 Notes [Act III 

Shaking her wings, devouring all in haste, 
Till either gorged be stuff'd or prey be gone ; " 

and 3 He7t. VI. i. i. 269 : — 

" like an empty eagle 
Tire on the flesh of me and of my son." 

96. Pang'd, Cf. Hen. VIII. ii. 3. 15 : — 

" 't is a sufferance panging 
As soul and body's severing." 

102. I'' II wake mine eye-balls blind first. Keep awake, though 
the strain on my eyes make me blind. The folios read " He wake 
mine eye-balles first." Hanmer inserted blind, which is adopted 
by all the recent editors. 

106. The per-iurb''d court, etc. That is, the court perturbed on 
account of my absence. See on ii. 3. 97 above. For the accent 
oi perturb'^d, see on ii. I. 59 above. 

109. To be unbent. To have thy bow unbent. Stand is used 
in the same technical sense as in ii. 3. 71 above. 

no. The elected deer. The chosen deer. Cf. P. P. 300: — 

" Whenas thine eye hath chose the dame 
And stall'd the deer that thou shouldst strike," etc. 

112. Considered of. Cf. IIe7i. V. ii. 4. 113, iii. 6. 133,/. C iii. 
2. 114, Macb. iii. I. 75, etc. 

116. Tent. Probe; as in Ham. ii. 2. 626: " I '11 tent him to 
the quick," etc. See also the noun in T. and C. ii. 2. 16: — 

" the tent that searches 
To the bottom of the worst." 

121. Abus'^d. Deceived, deluded. See on i. 6. 130 above. 

126. For V is commanded, etc. Some of the critics say that 
this is not in the letter; but it is implied in the injunction, *'to 
make me certain it is done," which Pisanio is left to interpret in 
his own way. S., however, is often careless in quoting letters. 



Scene IV] Notes 225 

127. Shall. Will ; as often when the future is inevitable. 

133. With that harsh, noble, etc. This line is evidently defec- 
tive, though the sense is clear. Noble is of course ironical. It has 
been variously emended. 

137. Hath Britain, etc. Knight remarks: "It seems probable 
that here, as also on a similar occasion in Rich. II. [see i. 4. 275 
fol.], S. had in his thoughts a passage in Lyly's Euphties : * Nature 
hath given to no man a country, no more than she hath house, or 
lands, or living. Plato would never account him banished that 
had the sun, air, water, and earth, that he had before : where he 
felt the winter's blast, and the summer's blaze ; where the same 
sun and the same moon shined : whereby he noted that every place 
was a country to a wise man, and all parts a palace to a quiet 
mind.' " 

138. /' the luorld^s volume, etc. Britain seems to belong to 
the world, but not in it, being separated from it by the ocean, like 
a swanks nest i7i a great pool. 

141. There ^s. Cf. iv. 2. 372 below: "There is no more such 
masters," etc. See also iv. 2. 284, v. 5. 233, etc. 

145. Dark as yotir fortune is. As impenetrable to others as 
your fortune is doubtful or obscure. 

146. That which, etc. Her personal identity as woman and 
princess (Clarke). 

148. Pretty and full of view. Fair and full of promise. Pretty 
has been suspected, but without good reason. Full of view may 
mean " affording an ample prospect, a complete opportunity of 
discerning circumstances which it is your interest to know " 
(Steevens) ; or that meaning may be combined with the one I 
have given. A Yankee might say " with a good look-out " in the 
same double sense. 

154. Adventure. Venture, run the risk. See on i. 6. 171 
above. 

156. Nice7iess. Coyness ; the only instance of the word in S. 
Cf. the adjective in T. G. of V. iii. i. 82, A. W. v. I. 15, Hen. V. 
CYMBELINE — 1 5 



2 26 Notes [Act III 

V. 2. 293, 299, etc. Dr. Ingleby puts this among the instances in 
which S. seems to say the reverse of what he means. He says : 
"if she were bid to * change fear and niceness into a waggish cour- 
age,' she must be bid to ' change obedience into command.' " 
But Pisanio is thinking of her forgetting to be a princess as well 
as a woman, and entering the service of Lucius, as he goes on to 
suggest. Dr. Ingleby, in a private letter (after I had referred to 
this in my former ed.), admitted that he was wrong. 

158. It pretty self. For this old possessive it^ cf. Temp. ii. i. 
163: "of it own kind; " Hen. V. v. 2. 40: "in it own fertilit>^; " 
Lear, i. 4. 236 : " it 's had it head bit off by it young," etc. This 
possessive it cccurs fourteen times in the folio (not counting a 
doubtful case in T. G. of V. v. 2. 21), ifs nine times, and its only 
once (^M. for M. i. 2. 4). Milton has its three times (/*. Z. i. 254, 
iv. 813, and Hymn on Nativ. 106). Its does not occur in the 
Bible of 161 1, and the possessive // is found only in Leviticus, xxv. 
5 ("its'' in modern eds.). 

160. Qtiarreloiis. The word is used by S. only here, and quar- 
relsome only in A. Y. L. v. 4. 85, 99, and T. of S. i. 2. 13. For 
the simile, cf. I Hen. IV. ii. 3. Si : — 

" A weasel hath not such a deal of spleen 
As you are toss'd with." 

Steevens says that " this character of the weasel is not warranted 
by naturalists." The animal was formerly kept in houses instead 
of a cat for the purpose of killing rats and mice. 

162. The harder heart I This too hard heart of mine ! Cf. the 
use of the comparative in Latin. Johnson makes it refer to Posthu- 
mus. 

164. Common-kissi77g Titan. The sun that kisses any body and 
any thing. Cf. I Hen. IV. ii. 4. 133 : "' Didst thou never see Titan 
kiss a dish of butter?" Steevens cites 0th. iv. 2. 78: "The bawdy 
wind that kisses all it meets." 

165. Laboursome. Elaborate. Ci. Ham.i. 2. ^^i "laboursome 



Scene vj Notes 227 

petition." Trims (= apparel) is the only instance of the plural 
in S. 

169. Fore-thuikiiig. Anticipating; as in I Hen. IV, iii. 2. 38: 
" Prophetically do fore-think thy fall." 

171. Li their serving. With the help they may give you. 

175. Happy. Fortunate, gifted. Cf. T. G.ofV.iw. i. 34: — 

" 2 Outlaw. Have you the tongues ? 
Valentine. My youthful travel therein made me happy." 

178. Your meajis abroad. For your means, as to your means. 

180. Supply 77ient. Continued supply ; used by S. only here. 

182. We 7/ even, etc. We '11 keep pace with the time, profit by 
any advantage offered. Cf. A. W. i. 3. 3 : " to even your content." 

184. I am soldier to. I have enlisted and bound myself to it; 
or am firmly and constantly devoted to it. For abide, cf. i. I. 89 
above. 

188. Your carriage. Carrying you off. 

191. At land. This might seem suggested by the preceding a/ 
sea, but we find it in other connections ; as in A. and C. iii. 7. 54, 
iv. 5. 3, etc. 

Scene V. — 2. Hath wrote. S. generally has writ or written for 
the participle. 

7. So, sir. For the " acquiescent" use of so, cf. iii. i. 82 above. 
The pointing is that of the folios. Some connect the words with 
what follows : " So, sir, I desire," etc. 

8. Coftduct. Safe-conduct, escort. 

9. And you ! The folios join this to the preceding speech. I 
follow the Cambridge editors (Globe ed.) in giving it to the Queen. 

14. The event. The issue ; as in T. of S. iii. 2. 129 : '* I '11 after 
him, and see the event of this," etc. 

22. Fits. Befits, becomes ; as in v. 5. 98 below. Ripely = 
promptly (the time being ripe for it) ; the one instance of the 
adverb in S, 



228 Notes [Act III 

25. Drawn to head. Gathered in arms. Cf. K, John^ v. 2, 113 : 
" Before I drew this gallant head of war," etc. 

32. Looks MS like. Seems to us like. The us is the dative, as 
in " do us the favour," etc. 

35. Slight in sufferance. Easy or careless in allowing it. 

36. Exile. Accented by S. on either syllable, according to the 
measure. Cf. ii. 3. 42 above and iv. 4. 26 below. 

40. Tender of. Sensitive to. 

44. Loudest. See on i. I. 96 above. 

50. Our great courts etc. Our important court business (with 
the Roman ambassador) made me forget it. 

56. Stand' st so for. Dost stand up so for, as we say; art so 
earnest a partisan of. Cf. M, W. iii. 2. 62 : "I stand wholly for 
you," etc. 

69. Forestall him of. That is, prevent his living to see. 

71. And that. And y^r that, and because. 

72. Than lady, ladies, woman. An elliptical climax = " than 
any lady, than all ladies, than all womankind" (Johnson). 

74. Outsells. Outvalues ; as in ii. 4. 102 above. 

80. Are you packing? Explained by some, and perhaps rightly, 
as = are you plotting? Cf. T. of S.n. i. 121 : " Here 's packing, 
with a witness, to deceive us all," etc. It may, however, mean (as 
Schmidt and others make it), Are you running off ? Cf. I Hen. VL 
iv. I. 46, Hani. iii. 4. 211, etc. 

85. Close. Sly, secret. Cf. Macb. iii. 5. 7 : "The close contriver 
of all harms," etc. 

86. Rip thy heart. Cf. Lear, iv. 6. 265 : " To know our ene- 
mies' minds, we 'd rip their hearts." 

92. Home. Thoroughly, fully. Cf. Temp.Y.l. 71: " I will pay 
thy graces home," etc. 

99. This paper. The "feigned letter" of v. 5. 279 below. It 
seems to have been prepared by Pisanio to account for Imogen's 
absence in case he should be charged with aiding and abetting her 
flight. 



Scene VI] Notes 219 

lOi. Or this or perish. I must resort to this trick or fall a 
victim to his fury. 

no. Undergo, Undertake. Cf. i. 4. 153 above. 

143. Insultme7it. The only instance of the word in S. Insult 
he uses only as a verb (always = exult), hisidter occurs in V, 
and A. 550. 

162. Most true. "It is characteristic of the faithful-hearted 
Pisanio that he never swerves from his conviction that Posthu- 
mus is good and true^ notwithstanding the cruel letter command- 
ing Imogen's destruction. He believes what he has told her ; 
that Posthumus has been deceived by *some villain,' who has 
worked this * injury' to both" (Clarke). 

164. Speed. Fortune, success ; with perhaps a play on the 
more familiar sense. 

165. Labour he his meed ! May he have only his labour for his 
pains ! 

Scene VI. — 6. Within a ken. Within sight, as in 2 Hen. IV, 
iv. I. 151 : "within a ken our army lies." 

7. Foundaiio7is. Perhaps " quibbling between fixed places and 
charitable establishments" (Schmidt). 

12. Lapse. Fall, sin ; here by lying. Cf. Cor. v. 2. 19. 

13. Sorer. " A greater or heavier crime " (Johnson). 

16. Even before. Just before ; as in K. John, iii. i. 233 : " And 
even before this truce, but new before," etc. 

17. At point. See on iii. i. 30 above. For food — for 7vant oi 
food. Cf. A. Y. I. ii. 7. 104 : " I almost die for food." 

19. I were best. See on iii. 2. 77 above. 

20. Clean. Quite, entirely ; as often in S. and the Bible. Cf. 
Rich. II. iii. i. 10, /. C. i. 3. 35, etc. See also foshua, iii. 17, 
Psalf?is, Ixxvii. 8, Isaiah, xxiv. 19, etc. 

21. Breeds. See on ii. 4. 58 above. Hardness = hardship; as 
in 0th. i. 3. 234 : — 

"A natural and a prompt alacrity 
I find in hardness." etc. 



ijo Notes [Act in 

22. Hardiness. Bravery; as in Hen, V. i. 2. 220: "hardiness 
and policy." For the jingle, cf. iii. 4. 11 above. 

23. Civil. Civilized ; as the antithesis of savage shows. Cf. 
0th. ii. I. 243 : " civil and humane seeming," etc. 

24. Take 07' le7id. Take pay for food, or lend it ; as MaV)ne 
makes it, referring to 48 below. The passage has been variously 
explained, and changes have been suggested. 

25. Best draw my swG7'd. Steevens quotes Milton, Comus, 487: 
"Best draw and stand upon our guard." 

27. Such a foe^ good heavens ! The half-amused reference to 
herself is sufficiently explained by the context, but some of the 
critics have not understood it. Theobald and Pope read " Grant 
such a foe." 

28. Woodman. Hunter ; the common acceptation of the word 
in the time of S. (Steevens). Cf. R. of L. 580: — 

" He is no woodman that doth bend his bow 
To strike a poor unseasonable doe ; " 

and M. W. v. 5. 30: "Am I a woodman, ha? speak I like Heme 
the hunter? " 

30. Match. Agreement, compact; as in W. T. v. 3. 137, Cor. 
ii. 3. 86, etc. 

34. Rest}'. Too fond of rest, lazy, torpid. Cf. Sojin. 100. 9 : 
" Rise, resty muse." It is = restive, a word often misunderstood 
in our day. 

36. Poor house, etc. Cf. A. V. L. iv. 3. 82: "But at this hour, 
the house doth keep itself." For throughly, see on ii. 4. 12 above. 

44. An earthly paragon. Cf. T. G. of V. ii. 4. 146: "No; but 
she is an earthly paragon." 

50. /' the floor. In = on ; as in 0th. i. 3. 74 : " What in your 
part (side) can you say to that ? " i Hen. IV. iv. 3. 92 : " And, 
in the neck of that," etc. 

52. Parted. Departed; as in Cor. v. 6. 73: "when I parted 
hence," etc. 



Scene VII] Notes 231 

55. Of. By ; as often. Cf. Macb. iii. 6. 27, etc. 

58. Made it. Cf. W. T. iii. 2. 218: "All faults I make," etc. 

64. In. Into ; as very often. Cf. 0th. v. 2. 292 : " Fallen in 
the practice of a cursed slave," etc. 

66. JF<?// encou?ite7'^ d ! Well met I Cf. i. 3. 32 above. 

71. I bid for you as Pd buy. I bid for you with a sincere desire 
to have you ; or, in substance, I speak in all honesty, I mean what 
I say. 

75. Sprightly. In good spirits. Cf. A. aiid C. iv. 7. 15, iv. 14. 
52, efc. 

77. Prize. Estimation, value. Clarke paraphrases the passage 
thus : " then would the prize which Leonatus gained in winning 
the heiress to the crown have been lessened by my being but sister 
to the royal heirs."' 

79. JVrifzgs. Writhes, as in anguish. Cf. Much Ado^ v. i. 28: 

"those that wring under the load of sorrow; "' and He7i. V. iv. i. 

253 : — 

" whose sense no more can feel 

But his own wringing." 

85. Laying by, etc. Setting aside that worthless tribute of obse- 
quious adoration which the tickle crowd pay to rank. Johnson 
explains differing multitjides as = " the many-headed rabble ; " 
but it seems rather to be = " the still discordant, wavering multi- 
tude " of 2 He7i. IV. ind. 19. 

87. Out-peer. Excel, surpass ; used by S. only here. 

89. Leonatus '. See on ii. 2. 50 above. 

90. Hunt. That is, the game taken in the hunt. 

92. Mannerly. Adjectives in -ly are often used adverbially. 
Cf. Much Ado, ii. i. 79 : " mannerly modest ; " and M. of V. ii. 9. 
100 : "Cupid's post that comes so mannerly." See also on ii. 3. 
36 above. 

Scene VII. — 4. And that. And J2w<:^ that. Cf. iii. 5. 71 above. 
6. Fallen-cff. Revolted. Cf. i Hen. IV. i. 3. 94: — 



232 Notes [Act IV 

" Revolted Mortimer ! 
He never did fall off, my sovereign liege, 
But by the chance of war," etc. 

9. Coi7i7naiids, etc. *' Commands the commission to be given to 
you" (Johnson). The expression is not more elliptical than many 
in the present play. 

14. Suppliant. Supplementary, auxiliary ; the only instance of 
the adjective in S. Capell and some other editors spell it *'sup- 
plyant." The accent is of course on the penult. 



ACT IV 



Scene I. — 5. Saving reverence of. Begging pardon of. Sav- 
ing your reverence was a common apology for an offensive or 
unseemly word. Cf. M. for M, ii. i. 92, Much Ado, iii. 4. 32, 
M. of V. ii. 2. 27, 139, etc. 

13. Single oppositions. Single encounters or combats. Cf. i 
Hen. IV. i. 3. 99 : " In single opposition, hand to hand," etc. 
Schmidt explains it as = " when compared as to particular accom- 
plishments ; " which perhaps suits the context quite as w^ell. 

14. Imperseverant. Stupid. It is the opposite of per sever ant 
(=: discerning), the noun perseverance being = discernment. Cf. 
Middleton, The Widow, iii. 2 : " had he but the perseverance Of 
a cock-sparrow," etc. Some explain it as " obstinately persevering, 
stubborn." The folios spell the w^ord '' imperseuerant," which some 
change to *' imperceiverant ; " but that is hardly an admissible 
derivative from perceive. 

15. What mortality is I What a thing mortality is! Cf. M. of 
V. i. 3. 162 : " O father Abram, w^hat these Christians are ! " 

17. Enforced. Violated. Cf. M. N. D. iii. i. 205: ** enforced 
chastity," etc. Thy face has been changed to "her face," but the 
confusion of pronouns, as Clarke remarks, is ** in Cloten's usual 
blundering headlong manner." 



Scene II] Notes 2^^ 

19. Spii7'n her home, Cf. iii. 5. 147 above. For happily = 
haply, cf. T. of S. iv. 4. 54 : " And happily we might be inter- 
rupted," etc. 

21. Power of. Control over; as in Ham. ii. 2. 27: "the sover- 
eign power you have of us." 

Scene II. — 8. Citizen. " Cockney-bred, effeminate " (Schmidt). 
For wanton (= one brought up in luxury), cf. K. John^ v. i. 70: 
" a beardless boy, A cocker'd silken wanton ; " and Rich. II. v. 3. 
10 : " While he, young wanton and effeminate boy" (where ivanton 
is a noun, as here). 

10. Journal. Diurnal, daily; as in M. for M. iv. 3. 92; "Ere 
twice the sun hath made his journal greeting," etc. Johnson para- 
phrases the passage thus : " Keep your daily course uninterrupted ; 
if the stated plan of life is once broken, nothing follows but confu- 
sion." 

14. Reason of it. Talk about it. Cf. M. of V. ii. 8. 27 : "I rea- 
son'd with a Frenchman yesterday," etc. 

17. How much, etc. However much, etc. Cf. Much Ado, iii. 

1.59: — 

" I never yet saw man, 

How wise, how noble, young, how rarely featur'd, 

But she would spell him backward," etc. 

24. Strain. Explained by Schmidt as " impulse," but the con- 
text shows that it carries with it the idea of hereditary disposition. 
Cf. its use = stock, race; as in/. C. v. i. 59: "the noblest of thy 
strain," etc. 

26, 27. Cowards father . . . and grace. In the folio these lines 
are printed thus : — 

" Cowards father Cowards, & Base things Syre Bace ; 
" Nature hath Meale, and Bran ; Contempt, and Grace. 

It must not, however, be inferred that the couplet is a quotation. 
Dyce has shown that maxims, apothegms, etc., used often to be 



234 Notes [Act IV 

printed in this way. Cf. Z". and C. i. 2. 319, where the line 
("Achievement is command," etc.) has the inverted commas in 
the folio, becaus'e, as the preceding line states, it is a " maxim." 

29. Miracle. Schmidt is in doubt whether this is verb or noun ; 
but it can well enough be explained as the latter. The meaning 
seems to be : yet this youth, whoever he may be, accomplishes a 
very miracle in being loved before me. For whOf cf. y. C i. 3. 80 : 
" Let it be who it is," etc. 

31. So please you^ sir, Tyrwhitt wished to transfer these words 
to Imogen, as a " courtly phrase " out of place in the mouth of 
Arviragus; but, as Capell suggests, they are probably addressed to 
Belarius, who, after saying ^ T is the 7ii7ith hour, etc., takes down 
some of their hunting weapons and hands one to Arviragus. The 
three men may be supposed to be equipping themselves for the 
hunt during the following speech of Imogen. 

35. Imperious, Imperial. Cf. Ham, v. i. 236: "Imperious 
Caesar" (the quarto reading); T. and C. iv. 5. 172; "most impe- 
rious Agamemnon," etc. 

38. Stir him. " Move him to tell his story" (Johnson). Imo- 
gen says here that she will taste of the drug that Pisanio gave her, 
but probably she does not do it until she has gone into the cave. 

39. Gentle. Of gentle birth, well-born. 

40. Disho7iestly afflicted. The victim of others' dishonesty, or 
dishonourable conduct. 

45. huswife. The usual spelling in the early eds., indicating 
the pronunciation. 

46. And shalt be ever. Belarius plays upon the word bound. 
It would hardly be necessary to refer to this, if Warburton had not 
changed shalt to "shall." 

47. Appears he hath had. A " confusion of construction." 
Clarke makes appears = " shows, makes manifest ; " but I cannot 
believe that the word is ever used transitively. 

49. His neat cookery! Mrs. Lennox has objected to this as 
inconsistent with the rank of Imogen ; but Mrs. Jameson says : 



I 

Scene II] Notes 125 

" We must not forget that her * neat cookery,' which is so prettily 
eulogized by Guiderius, formed part of the education of a princess 
in those remote times." 

50. In characters. In the shape of letters. Steevens quotes 
Fletcher, Elder Brother^ iv. i : "And how to cut his meat in char- 
acters." 

51. As. As if. Cf. V. 2. 16, V. 4. 119, and v. 5. 180 below. 

52. Dieter. The only instance of the word in S. 

59. Spurs. "The longest and largest leading roots of trees" 
(Malone). Cf. Temp. v. i. 47 : — 

" and by the spurs pluck'd up 
The pine and cedar." 

61. With. The preposition has troubled some of the commen- 
tators, but the twined implied in tintwifie is " understood" before 
2vith ' or we may say, with Malone, that untwine — " cease to 
twine." Perishing is proleptic, expressing the result of the untwin- 
ing. 

62. Great ?norning. Late in the morning. The expression 
occurs again in T. and C. iv. 3. I. Steevens compares the Fr. 
grand jour. So de grand 7?iatin = very early. 

67. Sazv him 7iot. Have not seen him. Cf. 192 below. The 
construction is not rare in S. 

75. A slave. That word slave; including perhaps the other 
meaning also : a slave who calls me a slave. 

77. To who? See on iii. 3. 87 above. 

80. My dagger in my mouth. Cf. for a different use of the 
figure Much Ado, ii. i. 255: "She speaks poniards; " and Ha77t. 
iii. 2. 414 : " I will speak daggers to her." 

82. Know^st me not by my clothes ? Some critics suppose that 
S. forgot here that Cloten was wearing the clothes of Posthumus, 
but Cloten simply means that he ought to be recognized as a 
gentleman or a person from the court, as Posthumus had been 
before he was banished. 



i36 



Notes [Act IV 



84. Make thee. See on iii. 4. 50 above. 

87. Injurious. Insolent. See on iii. i. 48 above. 

93. Mere. Absolute ; as often. Cf. merely in v. 3. 1 1 belov^^. 

95. Afeard? Used by S. interchangeably with afraid. 

97. Die the death ! The form of a judicial sentence (cf. M. for 
M. ii. 4. 165), and hence used of a violent death. 

98. Proper. Own ; as in Te??ip. iii. 3. 60 : "Their proper 
selves," etc. 

100. Lud'^s town. See on iii. i. 32 above. 

105. Favour. Personal appearance. See on i. 6. 41 above, 
and cf. iii. 4. 49. 

107. Absolute. Positive, certain ; 2,%\vi Ham.N. i. 148: "How 
absolute the knave is ? " Cf. perfect in 1 19 below. 

no. Fell. Fierce, cruel; as in T. and C. iv. 5. 269 : "fell as 
death," etc. 

111. Apprehension. Conception, appreciation; not = dread. 
Cf. Hen. V. iii. 7. 145 : " If the English had any apprehension, 
they would run away," etc. 

112. Defect of judgment. This has puzzled the critics, and use- 
less emendations have been proposed. Dr. Ingleby's explanation 
seems to me simple and satisfactory. He says : "'Defect of judg- 
ment,' which all commentators have taken to mean the total ab- 
sence of judg?nent, means the defective use of judgment. They were 
betrayed into this mistake by another : interpreting the phrase 
* scarce made up to man ' as if it referred to Cloten's youth (* before 
he arrived to man's estate,' says Knight), whereas Cloten was a 
middle-aged man. . . . On the contrary, the phrase 7nade up to 
man signified — in the full possession of a man's judgment ; and 
when it is said that a certain person is ' scarce made up,' it means 
that he had not a man's judgment. Cloten, being scarce made up, 
took no heed of terrors that roared loud enough for men with 
their wits about them, and thus he braved danger ; for it is the 
defective use of judgment (when men have any) which is oft the 
cause of fear. Cf. * defect of judgment ' in Cor. iv. 7. 39, and 



Scene II] Notes 237 

* defects of judgment ' in A. and C. ii. 2. 55." On scarce 7?iade up, 
zi.Rich. III. i. I. 21. 

117. / not doing this. If I had not done this. 

119. Perfect, See on iii. I. 73 above. 

122. Take lis in. Overcome us. wSee on iii. 2. 9 above. 

130. For. Because ; as in iii. 4. 52 above. 

132. Safe. Sound; as in Lear, iv. 6. 81 : "The safer sense," 
etc. 

137. To bring him here. Such ellipsis of as is not uncommon 
in S. 

139. Cave. The only instance of the verb in S. 

140. Head. Armed force. See on iii. 5. 25 above. 

142. Fetch us in. Capture us; as in A. and C. iv. i. 14: 
"Enough to fetch him in." Cf. 122 above. 

146. Ordinance. That which is ordained by the gods. Cf. 
Rich. III. iv. 4. 183 : "by God's just ordinance," etc. 

147. Howsoever. However this may be. 

150. Did make my way long forth. " Made my walk forth from 
the cave tedious^'' (Johnson). 

159. Brotherly. See on mannerly, iii. 6. 92 above. 

160. Revenges, ^\.Q,. "Such pursuit of vengeance as fell within 
any possibility of opposition " (Johnson). 

161. Seek us through. Seek us out, follow us up. 

168. To gain his colour. "To restore him to the bloom of 
health" (Steevens). 

169. Let . . . blood. Cf. /. C. iii. i. 152 : " ^Yho else must be 
let blood," etc. Parish is evidently = " as many as would fill a 
parish " (Johnson). Edwards takes the trouble to inform us that 
the meaning is not " I would let out a parish of blood ; " and Ma- 
lone says : " Mr. Edwards is, I think, right ; " for, as he adds, we 
find " a band oi Clotens " in v. 5. 304 below. 

171. Divijie. For the accent, see on ii. i. 59 above. 
175. Enchafd. Excited, enraged. Cf. 0th. ii. i. 17 : "on the 
enchp.fed flood." S. uses the word only twice, but chafed in the 



238 Notes [Act IV 

same sense occurs often. Cf. T. of S. i. 2. 203, Hen, VIII. i. 
I. 123, iii. 2. 206, Cor. iii. 3. 27, etc. For rud''st, see on i. I. 96 
above and cf. 191 below. 

176. By the top doth take., etc. Cf. 2 Hen. IV. iii. I. 22 : — 

" the winds, 
Who take the ruffian billows by the top," etc. 

178. Instmct. For the accent, cf. Rich. III. ii. 3. 42, Cor. v. 3. 
35' etc. 

180. Other. Cf. iii. I. 36 above. 

185. Clotpoll. Head. For its contemptuous personal use ( = 
blockhead), cf. T. and C. ii. i. 128 and Lear^ i. 4. 51. 

187. Ingenious. The folios have "ingenuous;" corrected by 
Rowe. The words are used indiscriminately in the early eds. 
What the instrument was we do not know. Some suggest the 
iF^olian harp ; but the wind, not Cadival, would give it motion. 

192. It did 7tot speak. See on 67 above. 

193. Answer, Answer to, correspond to. Cf. v. 5. 449 below. 

194. Toys. Trifles. Cf. i Hen. VI. iv. i. 145 : "a toy, a thing 
of no regard," etc. 

199. Made so much on. Cf. Cor. iv. 5. 203 : " he is so made on 
here," etc. For the interchange of on and of cf. iv. 4. 48 below. 

Verplanck quotes Mrs. Radcliffe here : "No master ever knew 
how to touch the accordant springs of S)Tnpathy by small circum- 
stances like our own Shakespeare. In Cy7?ibeline, for instance, 
how finely such circumstances are made use of to awaken at once 
solemn expectation and tenderness, and, by recalling the softened 
remembrance of a sorrow long past, to prepare the mind to melt at 
one that was approaching ; mingling at the same time, by means 
of a mysterious occurrence, a slight tremor of awe with our pity I 
Thus, when Belarius and Arviragus return to the cave where they 
had left the unhappy and worn-out Imogen to repose, while they 
are yet standing before it, and Arviragus — speaking of her with 
tenderest pity as * poor sick Fidele ' — goes out to inquire for her, 



Scene II] Notes 239 

solemn music is heard from the cave, sounded by that harp of 
which Guiderius says, ' Since the death of my dearest mother it did 
not speak before. All solemn things should answer solemn acci- 
dents.' Immediately, Arviragus enters with Fidele senseless in his 
arms : — 

• The bird is dead that we have made so much on. . . . 
Guiderius. Why, he but sleeps. . . . 
Arviragus. With fairest flowers, 
While summer lasts, a?td I live here, Fidele, 
I '11 sweeten thy sad grave.' 

Tears alone can speak the touching simplicity of the whole scene." 
206. Crare. A kind of small vessel. The folios have " care," 
corrected by Steevens, who gives many examples of crare (also 
spelt craer, cray or craye, crea, etc.) from Beaumont and Fletcher, 
Drayton, Heywood, and other writers of the time. It occurs 
also in Holinshed, North's Plutarch, Hakluyt's Voyages, etc. Ma- 
lone cites Florio, Ital. Diet. : " Vurchio. A hulke, a crayer, a lyter, 
a wherrie, or such vessel of burthen." 
208. But I. That is, but I know. 

210. Stark. Cf. the effect of the sleeping-potion in R. and J, 
iv. I. 103 : — 

" Each part, depriv'd of supple government, 
Shall, stiff and stark and cold, appear like death." 

212. N'ot as death'' s dart, t\.c. "Not as if death's dart had 
struck him, since he laughed" (Herford). 

215. Clouted brogues. Heavy shoes strengthened with clouts, or 
hobnails. Cf. 2 Hen. VI. iv. 2. 195: "clouted shoon." Accord- 
ing to others, clouted = patched. This would seem to be the 
meaning in Joshua, ix. 5 : " old shoes and clouted." Cf. Latimer, 
Sermons : " he should not have clouting leather to piece his 
shoes with." 

219. To thee. We have already had several examples of this 
confusion of pronouns in the present play. See on iii. 3. 105 



240 Notes [Act IV 

above. " Here Guiderius replies to his brother's remark upon 
Fidele's looking but as if asleep, and continues speaking of the 
gentle lad in the third person until, looking upon the beautiful 
form that lies apparently dead before him, a sense of its loveliness 
and his own impassioned regret at having to consign it to the grave 
comes full upon him, and he ends with addressing it rather than 
speaking of it" (Clarke). 

With fairest flowe^'s^ etc. Verplanck remarks here : " * The 
White Devil, or Vittoria Coronihoiia, a tragedy by John Webster,' 
is one of the most remarkable productions of Shakespeare's con- 
temporaries. The principal character is a bold and beautiful con- 
ception of daring female guilt, which may almost vie with Lady 
Macbeth, and may have been suggested by her, though in no 
respect a copy. But the play contains several passages in which 
the author is certainly indebted to his recollections of * Master 
Shakespeare,' whose ' right happy and copieous industry ' he com- 
mends in his preface. One passage is directly from Hamlet. A 
lady, resembling Ophelia in her grief and distraction, thus addresses 

her friends : — 

' you 're very welcome. 
Here 's rosemary for you, and rue for you; 
Heart's-ease for you : I pray you make much of it; 
I have left more for myself.' 

" Imogen's apparent soft and smiling death, as described in the 
text, has been supposed to be the origin of the following beautiful 
lines : — 

' Oh, thou soft natural death ! thou art joint-twin 
To sweetest slumber : no rough-bearded comet 
Stares on thy mild departure: the dull owl 
Beats not against thy casement : the hoarse wolf 
Scents not thy carrion : — pity winds thy corse, 
While horror waits on princes ! ' 

"Cornelia's distraction over her dead son, again, owes something 
to the last scene of Lear ; while the funeral dirge for young Mar- 



Scene II] Notes 241 

cello, sung by her, is still more directly borrowed from this 
scene : — 

' Call for the robin-redbreast and the wren, 
Since o'er shady grove they hover, 
And with leaves and flowers do cover 
The friendless bodies of unburied men. 
Call unto his funeral dole, 
The ant, the field-mouse, and the mole. 
To raise him hillocks that shall keep him warm, 
And (when gay tombs are robb'd) sustain no harm; 
But keep the wolf far hence, that 's foe to men. 
For with his nails he '11 dig them up again,' etc. 

"The last generation of critics perceived the resemblance, but 
were perplexed by the fact that Webster's play was printed in 161 2, 
eleven years before the first edition of Cynibeliiie ; so that it \vas 
not quite clear to them whether Shakespeare had not himself bor- 
rowed from the two last-quoted passages. But since their day w^e 
have learned from Dr. Forman that Cymbeline was acted at least 
one year before Webster's White Devil, so that Webster, who was 
originally an actor, was doubtless familiar with its poetry as repre- 
sented, and had, perhaps, himself delivered the lament of Arviragus. 
Indeed, his imitations are not direct copies, like those of a plagiar- 
ist from the book, but are rather the vivid results of the impression 
made upon the younger poet, by the other's fancy and feeling thus 
reproducing themselves, mingled with the new conceptions of a 
congenial mind." 

222. Pale primrose. Cf. W, 7". iv. 4. 122: — 

" pale primroses. 
That die unmarried ; " 

and 2 Hen. VI. iii. 2. 63 : " Look pale as primroses." 

224. IV/iom. Often used " to personify irrational antecedents," 
and sometimes where there is no personification. 

225. Ruddock. The redbreast. Cf. Spenser, Epithalamion : " the 
Ruddock w^arbles soft." 

CYMBELINE — 1 6 



242 Notes [Act IV 

230. lVi7tter-ground. This seems to have been a term for cov- 
ering plants with straw, etc., to protect them during the winter. 
The notion that the redbreast covered the dead with leaves appears 
to be older than the ballad of Ihe Babes in the Wood, Reed 
quotes Thos. Johnson, Cornucopia^ 1596: "The robin redbreast if 
he find a man or woman dead, will cover all his face with mosse, 
and some think e that if the body should remaine unburied that he 
would cover the whole body also." Cf. Drayton, The Owl : — 

" Cov'ring with moss the dead's unclosed eye, 
The little red-breast teacheth charitie." 

231. Wench-like. Womanish. ^^;^<:// was originally = woman, 
with no bad or contemptuous suggestion. Cf. Temp, i. 2. 139, 412, 
479, ii. I. 43, T. G. of V. ii. i. 24, etc. 

233. Adnii7'ation, The word combines here the senses of won- 
der and veneration. For the former, see on i. 6. 37 above. 

234. Shall 'j. Shall us; that is, shall we. Cf. Cor. iv. 6. 148: 
" Shall 's to the Capitol ? " See also W. T. i. 2. 178, Per. iv. 5. 7, 
and V. 5. 228 below. 

244. Great griefs, I see, etc. See on i. I. 135 above. For 
medicijie as a verb, cf. 0th. iii. 3. 332. 

247. Paid. Punished; as in v. 4. 162 below. 

248. Reverence, etc. " Reverence, or due regard to subordina- 
tion, is the power that keeps peace and order in the world" 
(Johnson). 

253. Thersites\ Cf. T. ajid C. i. 3. 73, etc. ; and for Ajax\ Id. 
i. 2. 14, etc. 

254. Are. For the plural, cf. L. L. L. ii. i. 133: "But say that 
he or we, as neither have," etc. 

256. To the east. For old superstitions concerning the position 
of graves, etc., see Brand's Popular Antiquities (Bohn's ed.), vol. ii. 
p. 295 fol. 

259. Fear no more, etc. Several of the editors quote Collins's 
imitation of this dirge, which, as Verplanck observes, " exhibits his 



A 



Scene II] Notes 243 

usual exquisite taste and felicity of expression, although inferior to 
the original in condensation and characteristic simplicity : " — 

" To fair Fidele's grassy tomb 

Soft maids and village hinds shall bring 
Each opening sweet of earliest bloom, 
And rifle all the breathing spring. 

No wailing ghost shall dare appear 

To vex with shrieks this quiet grove ; 
But shepherd lads assemble here, 
And melting virgins own their love. 

No withered witch shall here be seen ; 

No goblins lead their nightly crew ; 
The female fays shall haunt the green, 

And dress thy grave with pearly dew. 

The red-breast oft, at evening hours, 

Shall kindly lend his little aid, 
With hoary moss and gathered flowers, 

To deck the ground where thou art laid. 

When howling winds and beating rain 

In tempests shake the sylvan cell ; 
Or, midst the chase, on every plain, 

The tender thought on thee shall dwell : — 

Each lonely scene shall thee restore ; 

For thee the tear be truly shed ; 
Beloved till life can charm no more, 

And mourned till pity's self be dead." 

Knight remarks : " There is nothing to us more striking than the 
contrast which is presented between the free natural lyric sung by 
the brothers over the grave of Fidele and the elegant poem which 
some have thought so much more beautiful. The one is perfectly 
in keeping with all that precedes and all that follows ; the other 
is entirely out of harmony with its associations. * To fair Fidele's 
grassy tomb' is the dirge of Collins over Fidele; 'Fear no more 



244 Notes [Act IV 

the heat o' the sun ' is Fidele's proper funeral song by her bold 
brothers:' 

263, 264. Golden lads, etc. Staunton remarks (and I am in- 
clined to agree with him): "There is something so strikingly 
inferior, both in the thoughts and expression of the concluding 
couplet to each stanza in this song, that we may fairly set them 
down as additions from the same hand which furnished the con- 
temptible Masque or Vision that deforms the last act." The poor 
pun on chimney sweepers and dust could hardly have been tolerated 
by S. in his latter years ; and the couplet has no natural cohesion 
with the preceding lines. The same is true of those which end the 
second and third stanzas. The hnal couplet is not so much out of 
place, but renowned \^ a word out of place. 

272. Thiinder-stone. Thunderbolt. Cf. J. C. i. 3. 39: "Have 
bar'd my bosom to the thunder-stone." The ancients supposed 
that a stone actually fell with the thunder. See also 0th. v. 2. 
235 : " Are there no stones in heaven But what serve for the 
thunder ? " 

276. Consigyi to thee. Come to the same state, submit to the 
same terms ; but the word is strangely used here. Johnson would 
change thee to " this." 

277. Exorciser. Conjurer, one who raised spirits. Cf. exorcist 
in A, W, V. 3. 305 and /. C. ii. i. 323. 

281. Consicmmatio7i. The tinal siimming-tip or end of mortal 
life. Cf. Ham. iii. i. 63 : — 

" a consummation 
Devoutly to be wish'd." 

Steevens quotes Edw. III. iv. 9 : "To darkness, consummation, 
dust, and worms." 

286. Faces. Malone objected to the plural, as Cloten's corpse 
was headless ; but the flowers are to be scattered upon him also, 
and to be literally exact here would be unnatural and ridiculous. 
Clarke takes it to refer to " the faces of corpses generally," but that 
seems inadmissible. 



Scene IIJ Notes 245 

288. Herhlets. The only instance of the diminutive in S. 

294. '' Ods pittikins I One of the petty oaths of the time, cor- 
rupted from " God's pity ! " Cf. ' Ods pity ( 0th. iv. 3. 75), ' Ods heart- 
lings (/]/. W. iii. 4. 59), 'Ods lifelings {T. N'. v. i. 187), etc. For 
7?iile, cf. Macb. v. 5. 37 : " within this three mile," etc. 

299. Cave-keeper. Dweller in a cave ; like housekeeper^ etc. 

302. Fumes. Vapours, phantoms; as in Temp. v. I. 67 : — 



Begin to chase the ignorant fumes that mantle 



their rising: senses 
Their clearer reason ; " 

and Macb, i. 7. 66 : — 

" memory, the warder of the brain, 
Shall be a fume," etc. 

311. Mercurial. "Light and nimble like that of ^lercury" 
(Schmidt) ; the only instance of the adjective in S. 

312. Brawns. Brawny arms. Cf. Cor. iv. 5. 126 : "to hew thy 
target from thy brawn," etc. Jovial — like that of Jove ; used by 
S. only here and in v. 4. 105 below. Cf. Hain. iii. 4. 56 : "the 
front of Jove himself." 

314. JMadded. See on ii. 2. 37 above. For Hecuba, cf. Ham. 
ii. 2. 523, 584, T. and C. i. 2. I, etc. The allusion here is to the 
slaying of Hector by Achilles. 

316. Irregulous. Apparently = irregular, lawless ; a word found 
nowhere else. 

320. Most bravest. See on i. 6. 161 above. 

326. Pregnant. Full of probability. Cf. M. for M. ii. i. 23 : 
" 'T is very pregnant," etc. 

329. Ho7ne. Fully. See on iii. 5. 92 above. 

333. Which. Who. Cf. ii. 3. 108 above. 

334. To the?n. In addition to them. Cf. K. John, \. I. 144 : 
"And, to his shape, were heir of all this land," etc. 

338. Conjners. Probably = inhabitants (Schmidt), not " bor- 



246 Notes [Act IV 

derers," as generally explained. Cf. the use of confines — territory ; 
as in A. Y, L. ii. i. 24, Rich. II. i. 3. 137,/. C iii. i. 272, etc. 

342. Sieima's brother. Brother to the ruler of Sienna. 

343. Benefit <?' the wind. Cf. Ham. i. 3. 2 : " as the winds give 
benefit." 

348. Fast. Fasted. In verbs in which the infinitive ends in -/, 
-ed is often omitted in the past indicative for euphony. Cf. lift in 
John, xiii. 18 {lifted in the "Revised Version" of 1881), roast in 
Exodus, xii. 8, etc. 

350. Spongy south. See on ii. 3. 132 above. 

352. Abuse. Corrupt, pervert. 

361. Instruct us of Equivalent to inforiJi us of in next line. 

363. Crave to be demanded. Call for investigation. For demand 
= ask, inquire (the more common meaning in S.), cf. TetJtp. i. 2. 
139, 0th. V. 2. 301, etc. 

365. That, otherwise than noble nature, etc. " Who has altered 
this picture, to make it otherwise than nature did it ? " (John- 
son). 

367. Wrack ? See on i. 6. Z'^ above. 

372. There is. See on iii. 4. 141 above. 

380. Say you, sir ? See on ii. I. 26 above. 

381. Approve. Prove ; as in v. 5. 245 below. 

387. Prefer. Recommend. See on ii. 3. 47 above, and cf. 401 
below. 

390. Pickaxes. " Meaning her fingers " (Johnson). 

392. Century, Hundred. Elsewhere ( Cor. i. 7. 3 and Lear, iv. 
4. 6) it means a company of a hundred men. 

395. Entertain. Employ, take into service ; as in Much Ado, i. 
3. 60 : *' entertained for a perfumer ; " lear, iii. 6. ^Tf * " You, sir, 
I entertain for one of my hundred," etc. 

400. Partisans. Halberds. Cf. R. and /. i. I. 80, 201, A. and 
C. ii. 7. 14, etc. 

401. Arm him. Take him in your arms. Steevens cites 
Two Noble Kinsmen, v. 3. 135 : — 



Scene IV] Notes 247 

" Arm your prize ; 
I know you will not lose her." 

Scene III. — 6. Upon a desperate bed. That is, hopelessly (or 
very dangerously) sick. 

II. Enforce. Force. Cf. R. and J. v. 3. 47 : "Thus I enforce 
thy rotten jaws to open," etc. See also iv. i. 17 above. 

21. And will. And he will. Such ellipsis of the subject is com- 
mon when it can be readily supplied. 

22. Slip yon. Let you go. Cf. 3 Hen. VI. ii. 2. 162 : "Had 
slipp'd our chain until another age," etc. Jealousy — suspicion ; 
as often. Cf. T. N. iii. 3. 8, Hen. V, ii. 2. 126, etc. 

23. Depend. Impend ; or perhaps = remain in suspense. 

28. Amaz'd. In a maze, bewildered, confused. Cf. V. and A. 
684: "a labyrinth to amaze his foes; " K. Johjt, iv. 3. 140: "I am 
amaz'd, methinks, and lose my way," etc. Matter — business. 

29. Affront. Confront, encounter ; as in Ham. iii. i. 31 : — 

" That he, as 't were by accident, may here 
Affront Ophelia," etc. 

The meaning is : " Your forces are able to face such an army as we 
hear the enemy will bring against us" (Johnson). 

36. / heard no letter. I have heard nothing (that is, by letter')^ 
as we still are in the habit of saying. For the use of the past tense 
with since, cf. iv. 2. 191 above. 

40. Betid. Befallen (from betide^. For the form, cf. Rich. II. 
V. I. 42 : "long ago betid," etc. 

44. Even to the note 0' the king. " I will so distinguish myself 
that the king shall remark my valour" (Johnson). 

Scene IV. — 4, This way. If we take this course. 

6. Revolts. " Revolters" (Pope's reading), or deserters. Qi. K. 
John, V. 2. 151 : "And you degenerate, you ingrate revolts ; " and 
Id. V. 4. 7 : " Lead me to the revolts of England here," 



248 Notes [Act IV 

7. During their use. While they can use us, while they have 
need of us. For the adverbial use of after, see on ii. 3. 17 above. 

II. May drive us to a render, etc. May compel us to render 
an account of where we have been living. For render as a noun, 
cf. V. 4. 17 below. Johnson remarks ; "This dialogue is a just rep- 
resentation of the superfluous caution of an uld man ; " but it does 
not seem so to me, considering the circumstances. 

13. Answer. Penalty, punishment; as in T. of A. v. 4. 63 : 
" At heaviest answer," etc. 

18. Their quartered fires. Their camp fires, the fires in their 
quarters. 

19. So cloy''d importantly. So momentously and completely 
occupied. Lnportantly is used by S. only here. 

20. Upon our note. In taking note of us. 

23. Not zvore him. For the transposition of not, see on i. 6. 154 
above. 

27. The cei'tainty. "The certain consequence" (Malone). 
Clarke thinks it may also mean " the actual experience." 

29. But to be still, etc. " But doomed to be still," etc. Tanlings 
(= tanned boys) is used by S. nowhere else. 

2)2^- Thereto so o'^ergrown. In addition thereto so overgrown 
with hair; referring to his beard and bushy head. Cf. v. 3. 17 
below. For thereto = hQ%\diQS, cf. W. T. i. 2. 391 and 0th. ii. i. 
133. Schmidt thinks that overgrown may possibly mean grown 
old ; as in M. for M. i. 3. 22. 

35. What thing is it, etc. What a thing it is, etc. Cf. J. C. 
i. 3. 42 : " What night is this ! " etc. 

38. Bestrid. Cf. Rich. II. v. 5. 79: "That horse that thou so 
often hast bestrid," etc. 

48. Of. For on ; as 07t often for of. See on i. I. 164. 

50. Have with you ! Take me with you, I '11 go v\dth you ; a 
common idiom. Cf. M. W. ii. i. 161, 229, 239, iii. 2. 93, Cor. ii. 
I. 286, etc. 

53. Thinks scorn. Disdains the thought of any thing else. 



Scene II] Notes 249 



ACT V 

Scene I. — 5. Wrying. Going astray. Cf. the verb in bed- 
swerver (JV. 7\ ii. i. 93). 

9. Fu^ on. Incite, instigate (Johnson). Cf. Ham. v. 2. 394, 
Lear, i. 4. 227, 0th. ii. i. 313, etc. 

14. Each elder worse. Here elder seems to be = later, or " com- 
mitted at a more advanced age " (Schmidt). 

15. And make them dread it, to the doers' thrift. If this be 
what S. wrote, Mason's explanation seems on the whole the most 
in keeping with the context : " Some you snatch from hence for 
little faults ; others you suffer to heap ills on ills, and afterwards 
make them dread their having done so [dreading the consequences, 
or the punishment, I should prefer to say], to the eternal welfare 
of the doers." He adds : '* It is not the commission of the crimes 
that is supposed to be for the doers' thrift, but his dreading them 
afterwards, and of course repenting, which ensures his salvation." 
The passage may be corrupt, but the emendations seem to me less 
intelligible than the original text. 

23. Weeds. Garments; as in M. N. D. ii. 2. 71 : "Weeds of 
Athens he doth wear," etc. Suit myself = dxQ%?> myself; as in 
A. Y. L. i. 3. 118: "suit me all points like a man," etc. 

30. Habits. Dress ; or perhaps = outward appearance, in a 
more general sense. 

"^i. The guise d' the world. The way or fashion of the world, 
which is "more without and less within." 

Scene II. — 4. Carl. Churl, peasant ; the only instance of the 
word in S. Cf. car lot in A. V. L. iii. 5. 108. 

10. Is. Cf. Cor, iii. i. 245 : " 't is odds beyond arithmetic," etc. 
On the other hand, we find "these odds" in M.for M. iii. i. 41. 

12. Lane. Narrow pass or road. 

16. As. As if. Cf. iv. 2. 51 above. 



250 Notes [Act V 

Scene III. — 4. The heavens fought. Steevens quotes y//^<fj, 
V. 20. 

The king himself^ etc. S. found this incident in Holinshed's 
Scotland^ where it is told of the Hays, father and two sons. This 
is evident from the following coincidence in phraseology : " Hay, 
beholding the king, with the most part of the nobles, fighting with 
great valiancy in the middle ward, now destitute of the wifigs" etc. 
The scene of the fight is, moreover, " a long lane fenced on the 
side with ditches and zi'alls made of turf^^ Such the lafie men- 
tioned just above may have been. 

7. Full-hearted. Full of courage and confidence ; used by S. 
only here. 

8. Lolling the tongue. Like bloodthirsty wild beasts. 
II. That. So that. Cf. 35 below. 

15. Ancient. Often used of old people ; as in T. of S. v. i. 75, 
JV. T. iv. 4. 79, 372, R. and J. i. I. 90, ii. 3. 74, ii. 4. 150, iii. 5. 235, etc. 

16. Who deserved, etc. Who deserved as long a life as his white 
beard indicated. Ingleby explains it thus: *' who showed by his 
valour that he had profited by such long experience (in arms) as 
his long white beard cited." 

20. Base. The game of " prisoners' base," in which he who runs 
the fastest is the winner. Cf. V. ajid A. 303: "To bid the wind a 
base he now prepares " (that is, challenges the wind to run a race) ; 
and T. G, of V. i. 2. 97 : " Indeed, I bid the base for Proteus " 
(where there is a play upon the word). See also Spenser, Shep. 
KaL Oct. 5 : "In rymes, in ridles, and in bydding base." 

22. Shame. Modesty ; the " bashful shame " of V. and A. 49. 
Cas\l = masked, covered. 

26. IFill give you that, etc. " Will give you that death like 
beasts which you shun like beasts, and which you might save your- 
selves from, only by looking back with a bold frown of defiance " 
(Clarke). For beastly, cf. iii. 3. 40 above. 

29. Three thousand confident. Three thousand in confidence or 
courage. 



Scene III] Notes 251 

30. The file. The whole force. 

32. More char 7ning. Charming others ; that is, influencing them 
as by enchantment. Cf. i. 3. 35 above. 

34. Gilded. Reddened, flushed. Cf. its use with reference to 
the effect of wine in Temp. v. i. 280: "this grand liquor that hath 
gilded them" (with a quibbling allusion to alchemy) ; and to 
blood in Macb. ii. 2. 56 : "I '11 gild the faces of the grooms," etc. 

35. That. So that; as in 11 above. 

37. Gan. Began. See on ii. 3. 21 above. 

40. Retire. Retreat. Cf. K. John, \i. I. 326: "the onset and 
retire ; " Id. v. 5. 4: " In faint retire," etc. 

43. The strides they victors made. That is, retracing as slaves 
the onward strides they had made as victors. 

44. Fragments. Doubtless referring to the last remnants oi food 
on board. Cf. A. Y. L. ii. 7. 39 : — 

"the remainder biscuit 
After a voyage." 
Became the life of the tteed = saved our lives in the emergency. 

49. Slaughter -man. Cf. Hejt. V. iii. 3. 41 : " Herod's bloody- 
hunting slaughter-men." See also i Hen. VI. iii. 3. 75, 3 Hen. VI, 
i. 4. 169, etc. 

50. Or ere. Sooner than. See on iii. 2. 65 above. 

51. Mortal bugs. Deadly bugbears. Cf. Hatn. v. 2. 22: "such 
bugs and goblins," etc. 

53. Do not wonder, etc. " Posthumus first bids him not wonder, 
then tells him in another mode of reproach that wonder is all that 
he was made for " (Johnson). 

60. Stand. Face, withstand. Cf. i. 2. 14 above. 

64. Still going? Running away from me also? "Said in con- 
temptuous allusion to his having * come from the fliers,^ and to his 
being one that will * quickly _/?/ ' a poor-looking man's friendship " 
(Clarke). Noble misery = miserable nobility. 

68. Charm'' d. Protected as by a charm, or bearing " a charmed 
life" {^Macb. v. 8. 17). Cf. 32 above. 



i^i Notes [Act V 

72. Moe. See on iii. i. 36 above. 

75. A^o more a Briton. This is opposed to the preceding clause : 
Having been on the side of the Briton, but no longer a Briton, I 
have resumed, etc. Verplanck says : " In the original reading I 
understand Posthumus as continuing his figurative search of Death. 
As a Briton, he could not find Death where he * did hear him 
groan,' etc. But he 'will find him,' for he (Death) is now a 
favourer of the Britons, and therefore Posthumus, * no more a 
Briton,' resumes again his Roman character, in order thus to reach 
his wished-for death." This explanation is due to Capell, but that 
which I have given seems simpler. 

78. Once touch my shoulder. In token of arrest. Cf. shoulder- 
clapper — bailiff, in C. of E. iv. 2. 37. 

79. Answer. Reprisal, retaliation. 

86. Silly. Simple, rustic. Malone quotes the novel on which 
the play is founded as it appears in the translation of the Deca??te- 
rone^ 1620 : "The servant, who had no great good will to kill her, 
very easily grew pitifull, took off her upper garment, and gave her 
a poore ragged doublet, a silly chapperone " [hood], etc. 

87. Gave the affront. Faced or confronted the enemy. Cf. 
affront in iv. 3. 29 above. The noun occurs nowhere else in S. 

90. Seconds. Others to second or aid him. Cf. Cor, i. 4. 43 : 
" now prove good seconds ; " and Id. i. 8. 15 : — 

" Officious and not valiant, you have sham'd me 
In your condemned seconds." 

91. Had answe7'''d hi??i. Had done like him. 

Scene IV. — i. Yoti shall not now be stolen, etc. "The wit of 
the gaoler alludes to the custom of putting a lock on a horse's leg 
when he is turned to pasture" (Johnson). 

10. The penitent iiistruinent, etc. The penitential means of 
freeing my conscience of its guilt. 

14- I cannot do it better, etc. This passage has been a stumbling- 



Scene IV] Notes 253 

block to the commentators, but Dr. Ingleby's explanation (^Shakes. 
Hermenetitics, ^. 100) seems satisfactory. He says: " Posthumus 
rejoices in his bodily thraldom, because its issue will be death, 
which will set him free : certainly from bodily bondage, and pos- 
sibly from spiritual bondage — the worst of the twain. So he 
prays for ' the penitent instrument to pick thai bolt,' the bolt which 
fetters his conscience worse than the cold gyves constrain his 
shanks and wrists : that is, for the means of a repentance which 
may be efficacious for pardon and absolution. He then enters into 
these means in detail, following the order of the old Churchmen : 
namely, sorrow for sin, or attrition: * Is 't enough I am sorry?' 
etc. : then penance, which was held to convert attrition into con- 
trition : 'Must I repent?' etc.: then satisfaction for the wrong 
done. As to this last he says, if the main condition of his spiritual 
freedom be that ('To satisfy'), let not the gods with that object 
require a stricter render than his all — his life. These are the 
three parts of absolution. The third he expands in the last clause. 
He owns that his debt exceeds his all. He says, in effect: 'Do 
not call me to a stricter account than the forfeiture of my all 
towards payment. Take my all, and give me a receipt, not on 
account, but in full of all demands. Earthly creditors take of 
their debtors a fraction of their debt and less than their all, " let- 
ting them thrive again on their abatement ; " but I do not desire 
that indulgence of your clemency. Take life for life — my all : and 
though it is not worth so much as Imogen's, yet 't is a life, and of 
the same divine origin ; a coin from the same mint. Between 
man and man light pieces are current for the sake of the figure 
stamped upon them : so much the rather should the gods take 
my hfe, which is in their own image, though it is not so dear, so 
precious, as Imogen's.' 

" The old writers compared the hindrances of the body to gyves. 
So Walkington in the Optick Glasse of Htwiors, 1607: 'Our bodies 
were the prisons and bridewils of our soules, wherein they lay 
manicled and fettered in Gives,' etc. And when Posthumus says 



2 54 Notes [Act V 

* Cancel these cold bonds,' he means free the soul from the body, 
as in Macb. iii. 2. 49 : — 

' Cancel and tear to pieces that great bond 
Which keeps me pale ! ' 

but the epithet cold has reference to the material gyves, which 
were of iron. Cf. The Two Noble Kinsmen^ iii. i. 72, where Pala- 
mon says * Quit me of these cold gyves ' — that is, knock off my 
fetters." 

30. Solemn niusic^ etc. Pope, who put 30-209 in the margin as 
spurious, remarks : " Here follow a visiouy a jnasque^ and 2.p7'ophecy, 
which interrupt the fable without the least necessity, and unmeas- 
urably lengthen this act. I think it plainly foisted in afterwards 
for mere show, and apparently not of Shakespeare." Malone calls 
it " contemptible nonsense," and Ritson considers the margin '* too 
honourable a place for so impertinent an interpolation." The edi- 
tors and critics, almost without exception (see p. 11 above), have 
been of the same opinion. Schlegel, Ward, and George Fletcher 
believe it to be Shakespeare's. 

38. AttendUig. Awaiting. 

43. Lticina. The goddess who assisted women in labour. Cf. 
Per. i. I. 8, iii. i. 10. 

45. That. So that. See on v. 3. 11 above. On the passage, 
cf. Macb. V. 8. 16. 

60. Leonati seat. Ci. /. C. v. 5. 19: ** Philippi fields;" T. of S. 
ii. I. 369: "Pisa walls," etc. 

67. And to becoi7ie, etc. And suffer Posthumus to become, etc. 
Geek = dupe; as in T. N.v, I. 351 : "And made the most noto- 
rious geek and gull," etc. 

75. Hardiment. "Hard fighting, valorous service" (Clarke). 
Cf. I Hen. IV. i. 3. loi and T. and C. iv. 5. 28. 

78. Adjourned. Delayed, deferred. 

89. Synod. The word refers to an assembly of the gods in five 
out of six instances in which S. uses it. 



Scene IV] Notes 255 

102. Delighted. Delightful; as in 6)//^. i. 3. 290: " If virtue no 
delighted beauty lack." 

105. Jovial. See on iv. 2. 312 above. 

116. As. As if. Cf. iv. 2. 51 and v. 2. 16 above. Foot us — 
seize us in his talons. 

117. Ou7' blest fields. The Elysian fields. 

118. Prunes. That is, picks off the loose feathers, to smooth 
the rest. Cf. i Hen. IV. \. i. 98. Cloys — claws, or strokes with 
his claws; "an accustomed action with hawks and eagles" 
(Steevens). This meaning of cloy was a plausible conjecture of 
Steevens, but no other instance of it has been found. The New 
Eng. Diet, gives none. 

125. Scor7i ! Mockery. 

129. Swerve. Err; as in A. and C. iii. 1 1. 50, etc. 

133. Book? The /a 3/<?/ of 109 above. 

134. Fangled. " Gaudy, vainly decorated; perhaps the only in- 
stance in which the word occurs without new being prefixed to it " 
(Malone). The only other instance recorded in the New Eng. 
Diet, is from M. Grove, Pelops and Hipp. 1527 : " Mens minds were 
not so fangled then as now they appear to be." Halliwell-Phillipps 
quotes Guilpin, Skialetheia, 1598: " new printed to this fangled 
age." 

138. Whejias. When. Cf. C. of E. iv. 4. 140, etc. 

146. Tongue and brain not. Speak without understanding. 
Cf. M. for M. iv. 4. 28 : " How might she tongue me ! " S. does 
not use braift as a verb, except in the sense of beat out the brains. 
It is doubtful whether the present instance is his. 

148. Be what it is. Be it what it may. 

149. Action. Course. 

156. The shot. Cf. Falstaff's play upon the word in I Hen. IV. 
v. 3. 31 : "Though I could scape shot-free at London, I fear the 
shot here." 

163. Are paid. With a play on the sense oi punished. Cf. iv. 
2. 247 above. 



256 Notes [Act V 

165. Drawn. Drawn dry, emptied. The metaphor is probably 
taken from drawing off the contents of a cask, not from removing 
the entrails of a fowl, as Steevens makes it. 

168. Debitor and creditor. An account book (Johnson and 
Schmidt). Delius hyphens the words, which formed the title of 
certain old treatises on book-keeping. Cf. 0th, i. i. 31. 

170. Counters, Round pieces of metal used in calculations. 
Cf. W. T, iv. 3. 38 ; "I cannot do 't without counters." 

181. So pictured. Being represented as a skeleton. 

184. Jump. Risk, hazard. Cf. Macb. i. 7. 7 : *'jump the hfe to 
come." 

185. How you shall speed. How you shall fare, what luck you 
shall have ; as in T. of S. ii. i. 283, K. JoJui, iv. 2. 141, etc. Cf. 
the noun speed \n iii. 5. 164. 

189. Wink. Shut their eyes. See on ii. 3. 24 above. 
202. Prone. That is, eager for the gallows. 

208. Gallowses. Doubtless intended as a vulgar plural. Else- 
where we hnd galloivs ; as in I //en. /V. ii. i. 74: "a fat pair of 
gallows," etc. 

209. //ath a preferment in V. Apparently = hath the prospect 
of promotion in it; that is, in a better state of society he would 
probably have a better office than that of gaoler. 

Scene V. — 2. Woe is my heart. That is, to my heart. Cf. 
" woe is me " in //aui. iii. i. 168, etc. 

5. Targes. Targets, shields. Cf. Z. Z. Z. v. 2. 556 : " with targe 
and shield," etc. Here the word is a monosyllable. See p. 169 
above. For proof ^^ resisting power (a technical term with refer- 
ence to armour), cf. Rich. //. i. 3. 73, //am. ii. 2. 512, etc. 

II. Search'' d. Sought. 

13. The heir of his reivard. That is, the reward meant for him 
reverts to me. 

14. The liver, etc. For the liver as the supposed seat of courage, 
cf. T. N. iii. 2. 22 : " to put fire in your heart and brimstone in your 



Scene V] Notes 257 

liver." So white-livered^ lily-livered, and 7nilk-livered 2S^ used by 
S. to signify cowardice. 

27. Who. Cf. iv. 2. 77 above. 

28. Consider. Remember, bear in mind. 

30. How ended she ? For end — die, cf. T. /V. ii. I. 22, 2 iY<?;2. 
/F. iv. 5. 80, Hen, VIII, v. I. 20, etc. 

38. Affected. Loved ; as in T. G. of V. iii. i. 82 : — 

" There is a lady in Verona here 
Whom I affect," etc. 

43. Bore in hand. Pretended. Cf. Ala cIk in. I. 80: " How you 
were borne in hand" (flattered with false hopes), etc. 

47. Delicate. Explained by Schmidt as " ingenious, artful ; " 
but it is probably =3 lovely (cf. 63 below), and put in strong anti- 
thesis to fiend. Cf. R. and J. iii. 2. 75 : " fiend angelical ! " 

50. Mortal mineral. Deadly poison. Cf. (9///. ii. 1.306: "like 
a poisonous mineral," etc. White remarks : " There can be little 
doubt that the slow poisons of the i6th and 17th centuries w^ere all 
preparations of white arsenic, the mortal mineral still most effectual 
for the poisoner's purposes." For took, cf. iii. 6. 48 above. 

55. Fitted you. Prepared you, got you into a fit frame of mind. 

58. Shameless-desperate. Compound adjectives are frequent in 
S. Cf. i. 4. 55 above. Opened — disclosed, revealed. 

74. Estate. State, condition ; as often. 

80. Szifficeth. It suffices. For the ellipsis, cf. T. of S. i. i. 252, 
iii. 2. 108, 2 He7t, VI. iv. 10. 24, etc. 

Z'}). Pecjiliar. Personal; as in i/*?;;/. iii. 3. 1 1 : " The single and 
peculiar life ; " 0th. i. i. 60: "for my peculiar end," etc. 

87. Over his occasions. In regard to what was required. Cf. 
IV. T. ii. 3. 128: "tender o'er his follies." Schmidt well explains 

it : "so nicely sensible of his wants" (that is, his master^ s wants). 

88. Feat. " Ready, dexterous in waiting " (Johnson). See on 
the verb, i. i. 49 above. 

Clarke remarks: "This gentle adaptation of herself and her 

CYMBELINE — 1 7 



258 Notes [Act V 

womanly accomplishments to her assumed office of page crowns the 
perfection of Imogen's character. Her power, too, of attracting 
and attaching all who come near her — her father, who loves her in 
spite of the harshness he has shown her under the influence of his 
fiendish queen ; her husband who has been her * play-fellow ' when 
a boy, and her lover in manhood, even after her supposed death; 
her faithful servant, Pisanio ; her brothers, who know her but as a 
poor, homeless boy ; Belarius, whose sympathy for the sick youth 
makes the way forth seem tedious ; and Lucius, who pleads for the 
gentle lad's life with so earnest a warmth, while bearing so affec- 
tionate a testimony to his qualities as a page — this power of hers 
speaks indirectly, but indisputably, in testimony of her bewitching 
nature." 

93. Favour, Face. See on i. 6. 41 above. 

94. Looked thyself into my grace. Won my favour by thy looks. 
103. A thing, etc. The ring on lachimo's finger. 

119, Walk with me. Withdraw with me. See on i. i. 176 
above. 

120. One sand another, etc. This has been suspected of cor- 
ruption, but it is probably only one of the many elliptical construc- 
tions in the play. The meaning is clear enough. 

135. Render, State, tell. Cf. ii. 4. 119 above. 

143. Jewel, See on i. 4. 165 above. 

145. Sir. See on i. 6. 159 above. 

153. Upon a ti?ne, etc. Ingleby notes that the narrative here 
follows the story as given by Boccaccio rather than the circum- 
stances in i. 4 ; but this does not prove, as he assumes, that the 
present scene was written some years earlier than that one. The 
disagreement is obvious, but such variations in the details of the 
action as given in different portions of the text are not uncommon 
in S. " In the present case," as Clarke remarks, " he may either 
have made it to give the effect of that inaccuracy of memory 
which often marks the narration of a past occurrence even in 
persons habitually truthful, or in order to denote lachimo's innate 



Scene V] Notes 259 

untruthfulness and unscrupulousness, which lead him to falsify in 
minor matters as in those of greater moment." For rar'st^ see on 
i. I. 96 above. 

163. Feature, Shape, figure ; as often. Cf. T. G. of V. ii. 4. 
73: "He is complete in feature and in mind," etc. La7?ting — 
making seem lame or deformed. 

164. Sh'ine, Image, statue. Cf. M. of V. ii. 7.40: "To kiss 
this shrine, this mortal-breathing saint." See also A\ of L, 194 and 
R, and J, i. 5. 96. Straight-pight = straight-fixed, erect. Cf. 
pight (= fixed, in a figurative sense) in Lear, ii. I. 67. 

165. Postures beyond brief nature. Postures of beings that are 
immortal. Condition — disposition, character. Cf. M. of V. i. 2. 
143 : " the condition of a saint, and the complexion of a devil," 
etc. 

166. Shop, Storehouse. 

171. Lover, For the feminine use, cf. T, G, of V, i. I. 116, 
A, Y, L, iii. 4. 46, A, and C, iv. 14. loi, etc. 

177. Were cracked of kitchen-tr tills. Were made in praise of 
mere kitchen-wenches. Crack was sometimes — bluster, swagger. 
Cf. the noun in K, John, ii. i. 147: "What cracker is this same 
that deafs our ears," etc. 

178. Unspeaking sots. Fools incapable of speech. For sot 
(always = fool or dolt in S.), cf. Temp, iii. 2. loi, C, of E, ii. 2. 
196, etc. 

180. As, As if. See on v. 4. 116 above. 

182. Made scruple. Expressed doubt. Cf. the play on scruple 
in 2 LLen. LV, i. 2. 149 : " the wise may make some dram of a 
scruple, or indeed a scruple itself." 

190. Of Phoebus^ wheel, Cf. A, and C, iv. 8. 28 : — 

•' He has deserv'd it, were it carbuncled 
Like holy Phoebus' car." 

193. Taught Of. Cf. Isaiah^ liv. 13, John, vi. 45, i Thessa- 
lonianSy iv. 9, etc. 



26o Notes [Act V 

197. Can. See on ii. 3. 21 and v. 3. 37 above. 

198. Varitage, x\dvantage. Cf. K. John, ii. i. 550, Cor. i. i. 
164, etc. 

199. Practice. Artifice, stratagem. Cf. Ham. iv. 7. 66, M.for M. 
V. I. 123, etc. 

200. Simtdar. Counterfeited, false. Cf. Z<?<?r, iii. 2. 54 :" Thou 
perjur'd and thou simular of virtue ; " where the quartos have 
"simular man." 

203. Averring. Alleging. Some make it an adjective = con- 
firmatory. S. uses the word only here. 

206. That. So that. See on v. 3. 1 1 above. 

207. Crack' d. Broken; as in i. 3. 17 and iii. I. 28 above. 

214. Justicer. Judge; as in Lear, iii. 6. 59: "False justicer, 
why hast thou let her scape?" Steevens quotes Law Tricks, 
1608: "No; we must have an upright justicer;" and Warner, 
Albiofis England, 1602: "a justicer upright." 

216. Amend. Improve upon. Cf. ii. 3. 32 above. 

221. Ajid she herself. "That is, she was not only the temple of 
Virtue, but Virtue herself" (Johnson). 

223. Bay me. Bark at me. Ci. /. C. iv. 3. 27: "I had rather 
be a dog, and bay the moon," etc. 

225. Be villany less than U "duas. That is, let the word villany 
be applied to inferior crimes. 

228. Shall 'i-. See on iv. 2. 234 above. 

229. There lie thy part. Play thy part by lying there. 

'^ZZ' Comes. See on iii. 4. 141 above. These staggers — " this 
wild and delirious perturbation" (Johnson). 

238. Tune. Voice, accent. Cf. Somt. 141. 5: "thy tongue's 
tune ; " Cor. ii. 3. 92 : " the tune of your voices," etc. 

245. Approve. Prove ; as in iv. 2. 381 above. 

249. Lmportu7t^ d. Accented on the second syllable, as regularly 
in S. 

250. Temper. Compound, mix ; used of poisons in Much Ado, 
ii. 2. 21, R, and J. iii. 5. 98, and Ham. v. 2. 339. 



Scene V] NoteS 26 1 

259. Dead. Insensible, like one dead. Cf. Spenser, F. Q. iv. 

7.9: — 

" For she, deare Ladie, all the way was dead 
Whilest he in armes her bore ; but when she felt 
Her selfe downe soust, she waked out of dread," etc. 

262. Think that you are upon a rock. This has perplexed 
some of the critics, and sundry changes have been proposed ; but 
if we suppose that Imogen here throws her arms about her hus- 
band's neck (according to the stage-direction first inserted by Han- 
mer), all is clear enough. Having done this, she says, "Now 
imagine yourself on some high rock, and throw me from you again 
— if you have the heart to do it." This action is necessary also 
to explain the reply of Posthumus, Hang there^ etc. Ingleby takes 
it to be a rock on which a man has taken refuge from ship- 
wreck, and thinks this is confirmed by the nautical metaphor in 
anchors (393), but that is too far off to have any bearing on the 
figure here. Besides, it is in the mouth of another speaker. 

265. Mak^st thou me a dullard, etc. "Do you give me in this 
scene the part only of a looker-on? S. was thinking of the stage " 
(Staunton). 

271. Naught. Worthless, wicked (usually spelt naught in this 
sense in the folio, but nought yN\i^x\. it is = 7iothing). Cf. A. V. L. 
i. 2. 68, iii. 2. 15, R. and J. iii. 2. 87, etc. Long of her — because 
of her, owing to her. Cf. M, N. D. iii. 2. 339 : " You, mistress, 
all this coil is long of you," etc. Long is equivalent to along, but 
not a contraction of it. 

274. Troth. Truth ; as in M, A\ D. ii. 2. 36 : " And to speak 
troth, I have forgot our way," etc. 

283. Enforced. Got by force. Cf. iv. 3. ii above. 

284. With unchaste purpose. Some critic has objected that 
Cloten does not tell his purpose while Pisanio is on the stage in 
iii. 5 above; but in line 157 he intimates that he intends to make 
the latter a confidant of his design, and we may assume that he 
does so afterwards. 



iGi Notes [Act V 

287. Forfend! Forbid. W, T. iv. 5. 541, 0th, v. 2. 32, 186, etc. 

292. hiciviL Boorish. Changed by Capell to " uncivil ; " but 
S. uses uicei'tain, ingrateful^ iiifortuiiate, insociable^ etc., as well as 
the forms in U7i-, Incivil follows the analogy of incivility^ as 
ingratefiil does that of ingratitude. 

305. Scar. The word has been suspected, and changes have 
been proposed ; but, as Clarke notes, the expression is " a very 
characteristic one for a veteran soldier to use, who can conceive 
no better claim to merit than having plenteous scars to show." 

308. Tasting of. Testing, trying. Cf. T. N. iii. 4. 267 : " men 
that put quarrels purposely on others, to taste their valour," etc. 
See also the noun in 2 Hen. IV. ii. 3. 52, Lear, i. 2. 47, etc. 

310. We will die all three, etc. We will all die if I do not 
prove, etc. 

313. For inine own part, etc. That is, dangerous for myself. 
For the transposition, cf. ii. 3. 94 above. 

315. Have at it then. Here 's for it then, I '11 tell the story. Cf. 
W. T. iv. 4. 302 : " Have at it with you," etc. 

319. Assumed this age. That is, assumed or acquired it with the 
lapse of time. He refers to the change in his appearance since 
Cymbeline last saw him. 

323. Confiscate. For the form, cf. C. of F. \. i. 21, i. 2. 2, 
M. of V. iv. I. 311, 332, etc. S. accents the word on either the 
first or second syllable, as suits the measure. 

326. Prefer. Promote, advance. See on ii. 3. 132 above. 

334. Your pleasure, etc. " My crime, my punishment, and all 
the treason that I have committed, originated in and were founded 
on your caprice only" (Malone). 

338. Those . . . as. Cf. /. C. i. 2. 33 : " Under these hard 
conditions as this time Is like to lay upon us," etc. 

344. Beaten. My being beaten. 

345. Dear loss. Loss so deeply felt. Dear often = heartfelt ; 
used of both agreeable and disagreeable feelings. Cf. L. L. L. v. 
2. 874: '*dear groans; " Rich. II. i. 3. 151 : "dear exile," etc. 



Scene V] Notes 263 

346. Shaped Unto my end. Shaped itself to, or suited, my 
purpose. 

349. Sweet'' st. See on i. i. 96 above. 

352. Thou weefst, and speak' st^ etc. "Thy tears give testimony 
to the sincerity of thy relation ; and I have the less reason to be 
incredulous because the actions which you have done within my 
knowledge are more incredible than the story which you relate " 
(Johnson). 

360. Lapp'd. Wrapped. Cf. Rich, III. ii. I. 115: — 

" he did lap me 
Even in his garments," etc. 

362. Probation. Proofs, evidence ; 2,?>\n Ham. \. i. ic^6: — 

"and of the truth herein 
The present object made probation." 

See also 0th. iii. 3. 365, Macb. iii. i. 80, etc. 

364. A 7fiole, etc. Ingleby quotes this passage as " an unobtru- 
sive note of Shakespeare's subtlety," and endorses Clarke's remark : 
"Imogen's * mole cinque-spotted, like the crimson drops i' the 
bottom of a cowslip,' and Guiderius's * mole, a sanguine star,' are 
twinned in beauty with a poet's imagination and a naturalist's 
truth." 

369. Mother, The object of the verb, deliverance being the 
subject. 

370. Blest pray you be. The elliptical construction is quite like 
many others already noted in the play. 

371. Orbs, Orbits, or, more properly, the "spheres" of the old 
Ptolemaic theory that the heavenly bodies were set in crystal 
spheres, by the revolution of which they were carried round. Cf. 
Temp. ii. i. 183, M. N. D. ii. i. 7, 153, iii. 2. 61, K. John, v. 7. 74, 
T. and C. i. 3. 90, etc. See also Milton, Hy7nn oji Nativ. 125 
fol. : "Ring out, ye crystal spheres," etc. 

380. He died. The use of the pronouns in this line and the 



264 Notes [Act V 

next is very natural, though Hanmer changed he to " she." 
Guiderius is so accustomed to think of his sister as a boy that, in 
reverting to their experiences in the forest, he inadvertently speaks 
of her as he ; while Cornelius, who has known her only in her true 
sex, of course calls her she, 

381. Instijict ! For the accent, see on iv. 2. 178 above. 

382. Fierce. Either = *' vehement, rapid " (Johnson), or = " dis- 
ordered, irregular" (Schmidt). Perhaps it combines the ideas of 
hurried and wild or disordered. 

384. Distinction should be rich in, " Ought to be rendered 
distinct by a liberal amplitude of narrative" (Steevens); or, a 
more distinct and detailed statement ought to bring out fully. 

'^%%. Your three motives. The motives of you three. 

392. Inter'' gatories. The folios have " interrogatories ; " but 
the contracted form (for which see M, of V, \. i. 298 or A. IV. iv. 
3. 207) suits the measure better. 

393. Anchors. For the figure, cf. M. for M, ii. 4. 3 : — 

" Whilst my invention, hearing not my tongue, 
Anchors on Isabel." 

395. Her master. That is, Lucius, 

396. The cou7iter change, etc. That is, it is reciprocated by each. 

405. Forlorn. Accented on the first syllable before the noun, as 
in Son7t. 33. 7 and T. G. of V, i. 2. 124; but on the last when in 
the predicate, as in R, of L, 1500, etc. Cf. ii. i. 55 above. 

406. Becom'd. The form occurs also in R. and J. iv. 2. 26 and 
A, and C, iii. 7. 26. Cf. misbeconied in L, L. L, v. 2. 778. 

408. Company. The only instance of the verb in S. 

409. Beseer7iing, Seeming, appearance. />"/;;/^;2/= equipment. 
The former is used by S. only here ; the latter occurs in Per. iv. 6. 
6 (not Shakespeare's part of the play), where it is — what is fit, or 
duty. 

412. Made you finish. Put an end to you. Cf. 36 above. 

/ am down again, etc. Even lachimo — "a kind of less abso- 



Scene V] Notes 265 

lately evil lago," as Dowden calls him — repents in time to share 
in the general pardon. 

418. The pozver that I have on you. Cf. R. and J, v. 3. 93: 
" Hath had no power yet upon thy beauty." See also T. G. of V, 
iii. I. 238, J/(2r(^. V. 3. 7, etc. Elsewhere //«?7^ /^zt/^r is followed 
by in {Mtich Ado, iv. I. 75, etc.), by over (^Rich. III. i. 2. 47, etc.), 
and by zcfito {A. a7id C. ii. 2. 146, etc.). 

422. Holp. Used as the past tense of help, except in Rich. III. 
V. 3. 167 and 0th. ii. i. 138; also the common form for the parti- 
ciple. 

424. Joyd. For the transitive use, cf. Rich. III. i. 2. 220 and 
Per. i. 2. 9. 

428. Sp7'itely shows. Ghostly apparitions. Spritely (also spelt 
sprightly') is used by S. in this sense nowhere else. For another 
meaning, see on iii. 6. 75 above. 

430. Containing. Contents. 

431. From. Away from, far from. Cf. i. 4. 17 above. 

432. No collection of it. No inference from it. S. uses collec- 
tion elsewhere only in Hani. iv. 5. 9 and v. 2. 199, where the sense 
is similar. 

435. Whenas. \Mien ; as in v. 4. 138 above. White considers 
that the scroll and the four following speeches are "plainly not 
from Shakespeare's pen." It is probable that this part of the 
scene was " tinkered " to make it jibe with the interpolated 
masque in v. 4. Collier suggests that both vision and scroll 
formed part of an older play. Such riddles were popular on the 
earlier stage. 

447. Mtilier. It is hardly necessary to say that the word is 
not derived from mollis aer. 

448. This. Changed by some to " thy " or " this thy." These 
emendations are intended to furnish an antecedent for luho in the 
next line ; but it is better to assume that who refers to wife, and 
that there is a change in construction in were clipfd, perhaps due 
to the yoti in the same line. 



266 



Notes 



[Act V 



450. Clipfd. Clasped, embraced. See on ii. 3. 135 above. 

453. Point . . . forth. Cf. W. T. iv. 4. 572: "The which shall 
point you forth," etc. 

463. Whom heavens, etc. Another example of confused con- 
struction in a relative clause. See on i. 4. 136 above. Hers= her 
son Qoten. 

468. Yet this. The transposition of yet is common in S. See 
on ii. 3. 76 above. 

471. Herself. For the feminine eagle, cf. Hen. V. i. 2. 169 : — 



" For once the eagle England being in prey, 
To her unguarded nest the weasel Scot 
Comes sneaking, " etc. 

4S0. Friendly. For the adverbial use, cf iii. 5. 13 above. 
483. Set on. Like set forward in 47S above, = march on. Cf. 
J. C. i. 2. 14, V. 2. 3, etc. 

Did cease. For the ellipsis of the relative, cf. i. 6. 84 above. 



APPENDIX 

Charles Cowden- Clarke's Comments on the Play 

While I was at work on my former edition of Shakespeare^ Mrs. 
Mary Cowden-Clarke sent me the manuscript of the unpublished 
"Second Series" of her deceased husband's lectures -on the drama- 
tist, with permission to use any portions of them in editing the 
plays. ^ I give here (as in the former edition of Cymbeli7ie) the 
greater part of the lecture on that play : — 

"It is not my purpose to enter upon a discussion of the small 
dramatic proprieties, as these are observed or ignored in the play 
of Cymbeline. They who are interested in the rigidities, perhaps 
the fussiness, of criticism, — who take more pleasure in detecting 
a lapse in the unity of such a composition as this, — who would 
rather pride themselves upon exposing a deficiency in its chronol- 
ogy than in displaying its incomparable force and beauty of passion 
and fancy, of tenderness, imagery, and splendour of language, — 
are referred to the supplementary notices of the Johnsonian school 
of criticism. For myself, I care not one straw about the violation 
of the unities ; I am content to be wafted on the wings of the poet's 
imagination, and to be with him to-day in Rome and to-morrow 
watching the weary pilgrimage of the divine Imogen towards Mil- 
ford-Haven. It is enough for me that the play is one of the most 

1 The " First Series " was published in London in 1863, but has been 
long out of print. Both series WQre widely successful as popular lec- 
tures in England. In their preparation husband and wife had worked 
together, as in their annotated edition of Shakespeare, which is often 
quoted (as " Clarke," for brevity) in my own Notes. The manuscript 
gives the lectures exactly as delivered, not as they might possibly have 
been revised for subsequent publication. 

267 



268 Appendix 

romantic and interesting of Shakespeare's dramas ; and this we 
say of every drama of his, as we read them in succession. The 
romance itself of this story is sublimated by an intensity of passion 
and heart-ennobling affection and endurance that 1 have yet to see 
excelled. Of all his heroines, no one conveys so fully the ideal of 
womanly perfection as Imogen. We have full faith in the love and 
steadfast endurance of Desdemona : we believe that she would 
have borne more than her lord's jealousy in her personal love for 
him ; but Imogen has given us the proof that nothing could quench 
the pure flame of affection and devotedness in her heart, not even the 
charge of disloyalty and the atrocity of assassination. The triumph 
of self-reliance in the consciousness of holy virtue and of artless 
innocence was never more grandly carried out than in Imogen's 
steadfastness of purpose to go on and meet her husband after she 
has read his treacherous letter to their servant Pisanio, enjoining 
him to put her to death. It may be said, indeed, and for the 
thousandth time, that ' no one ever hit the true perfection of the 
female character — the sense of weakness leaning on the strength 
of its affections for support, so well as Shakespeare ; no one ever 
so well painted natural tenderness free from affectation and dis- 
guise ; no one else ever so well showed how delicacy and timidity, 
when driven to extremity, grow romantic and extravagant ; ' and 
there are few who cannot identify this testimony to their character, 
— not, of course, to the letter, but in the full spirit of Imogen's 
conduct. The homily of dear old Chaucer, when dismissing his 
narrative of the world-noted Griselda, may well be applied to our 
nation's Imogen : — 

' This story is said, not for that wives should 
Follow Grisild' as in humility, 
For it were importable though they would ; 
But for that every wight in his degree 
Shoulde be constant in adversity 
As^-as Grisilda ; therefore Petrarc writeth 
This story, which with high style he inditelh.' 



Appendix 269 

" Before proceeding to the inferior agents in this drama, I would 
say a few words upon the character of Posthumus. 

" That he was unworthy of the love of such a being as Imogen 
need only be stated. \Ye need only be reminded that when lachimo 
assays her constancy with the account of her husband's infidelities, 
she gives utterance to no stronger reply than the celebrated one, 

* My lord, I fear, has forgot Britain ' — not * forgotten me ; ' not 

* forgotten his wife : ' Imogen is too high-souled a lover and woman 
to utter a selfish reproach. Vet, when Posthumus receives the 
scandal of her disloyalty, it should be borne in mind that the 
proofs produced, and sivorn to, by lachimo were enough to stun 
even a, devout lover. Real charity (or love), it is true, ' endureth 
all things, hopeth all things,' and Posthumus should still have proved 
for himself ; but what I mainly feel to be an inconsistency in his 
character is that he is not reconcilable with himself — a perilous 
charge to venture against even the humblest of Shakespeare's crea- 
tions, and which I would gladly fail to substantiate : nevertheless, 
in the first scene of the play, a friend describes him as 

' a creature such 
As to seek through the regions of the earth 
For one his like, there would be something failing 
In him that should compare. I do not think 
So fair an outward, and such stuff within, 
Endows a man but he.' 

(' You speak him far,' says the Second Gentleman.) 

' I do extend him, sir, within himself, 
Crush him together, rather than unfold 
His measure duly.' 

"This fair report he certainly justifies in his leave-taking with Im- 
ogen, and subsequently maintains it in the wager with lachimo for 
the inviolability of her honour and truth. In short, he gives every 
proof of being noble and magnanimous to the core. Is it then rec- 
oncilable with rational probability that a man so endowed should 
so damn himself as, with the same ink and the selfsame pen, to 



270 Appendix 

write a treacherous letter to the woman he had adored, appointing 
her to meet him, and another to their servant, suborning him. to be 
her murderer ? His first resolution, upon encountering lachimo's 
proofs, that in the torment of his passion he would return to her 
father's court and * tear her limb-meal,' is not irreconcilable with a 
generous, although an ungovernable temper ; but coolly, and delib- 
erately, and upon reflection to turn assassin by deputy I Can such 
a contradiction exist in a man so described as Posthumus has been 
described to us ? The man who could reflectively compass the life 
of her whom he had adored beyond all the beings on earth was not 
the character to dismiss her slanderer, and the author of all their 
misery, with so godlike a punishment as this : — . 

' The power that I have on you is to spare you ; 
The malice towards you to forgive you : live, 
And deal with others better.' 

" The divine spirit of this conclusion, as Mr. Charles Knight says, 
* is perfect Shakespeare.' It is so; but I cannot feel it to be per- 
fect Posthumus. 

" In the original story of Boccaccio, from whence the play was 
taken, the punishment of the slanderer better accords with the 
revengeful nature of Posthumus ; and, indeed, with the frightful 
spirit of retribution that crowns the otherwise perfect — the divine 
— tales of the great Florentine. ' He was fastened naked to a stake, 
smeared with honey, and left to be devoured by flies and locusts : ' 
a revenge in character ; for the Italians have a proverb, actually 
inculcating the vice of revenge as a virtue : it is, * He who cannot 
revenge himself is weak ; he who will not is despicable.' Imogen 
(thank Heaven I) was one of our own women. And yet, with all 
the objection here suggested against his character-structure, I am 
in candour bound (and I rejoice in my duty) to testify that Posthu- 
mus, in the clearing of his wife's innocence, does prostrate his soul 
in the very mire of self-reproach and despair. His rejoinder to the 
confession of lachimo's treachery is enormous in its remorse ; and. 



Appendix 271 

— I must acknowledge, — atoning and complete ; as, in its spirit, it 
harmonizes ivith the impulsiveness of his natui'e. But, — good 
Heaven ! — how perfectly divine is the scene of their reunion ! 
She, with her characteristic strength of passion and gentleness, 
says — almost playfully : — 

' Why did you throw your wedded lady from you ? 
Think that you are upon a rock ; and now 
Throw me again.' \_Embracing hi77i.'] 

His heart is too full : he can make no more reply than : — 

' Hang there like fruit, my soul, 
Till the tree die,' 

"The noted soliloquy of Posthumus, after he has received from 
lachimo the proofs of Imogen's infidelity, — a speech that has been 
objected to, on account of its unrestricted tone of expression and 
want of harmony with the quality of that conjugal love which had 
existed between them, — appears to me, on the contrary, to be 
accurately consistent with his impetuous and engrossing nature. It 
is the strongest foil the poet could have placed against the exquisite 
delicacy and forbearance of Imogen, whose sharpest speeches are : 
* Some painted jay of Italy has betray'd him ; ' and her heaviest 
reproach in her affliction : — 

' My dear lord ! 
Thou art one of the false ones. A^ow I think on thee. 
My hunger' s gotie ; but even before, I was 
At point to sink for food.' 

And but once is she betrayed into an expression of anger : * That 
drug-damn'd Italy hath out-crafted him.' She, the most injured 
party, is the most forbearing — the common result in society — and, 
in short, never was case more triumphantly carried out between 
what have been wittily styled the * fair, and the w;^-fair sex.' 

"The prevailing feature in the play of Cymbeliite is that, under 
different phases, it exhibits an enchanting portraiture of the * Affec- 



272 Appendix 

tions ' in their several varieties. In the two prime agents of the 
drama (Imogen and Posthumus), we are presented with the passion 
in its grandest feature ; in the brothers, Guiderius and Arviragus, 
we have the mysterious instinct of the fraternal affection ; in the 
stupid addresses of the booby prince, Cloten, a contrast of the aiii- 
;;/<?/ affection, unelevated by a spark of the celestial tire, is set forth ; 
and lastly, the affection of me^iial attachment, in its most disinter- 
ested form, is exhibited in the beautiful character of Pisanio, the 
servant to Posthumus, who is one of Shakespeare's favourite class of 
attendant gentlemen — like Horatio and Benvolio ; of level under- 
standing, unostentatiously faithful, and actively devoted. The char- 
acter of Pisanio is a charming one. And here, while upon the 
subject of ' Affection,' — rather, perhaps, say of * Friendship,' which 
is only a modified emotion of the same subject (Friendship is Love 
without his wings), we may observe the different sentiment of 
Shakespeare as regards menial attachment, and that of Sir Walter 
Scott, who has so often been compared with him. Shakespeare, 
who in his love for his species seems to have been a cosmophilan- 
thropist, took an evident pleasure in uniting the several grades of 
society in the bonds of mutual respect and unselfish attachment. 
Instances of this might be quoted from his plays to a considerable 
extent. As he has finely said, ' One touch of Nature makes the 
whole world kin^ ^ He has therefore constantly identified both 
master and man in one common interest ; and in but one instance 

1 Mr. Cowden-Clarke, like almost everybody who has quoted it, mis- 
applies this familiar quotation ( T. and C. iii. 3. 175), which, in its original 
connection, means simply that one natural trait is characteristic of all men. 
Grant White paraphrases the passage thus: "There is one point on 
which all men are alike, one touch of human nature which shows the 
kindred of all mankind — that they slight familiar merit and prefer trivial 
novelty." It does not refer to the brotherhood of mankind, as it is gen- 
erally understood. But quotations from Shakespeare are often used to 
illustrate or emphasize other ideas than those with which he associates 
them ; and, in this instance, it does him no injustice. Cf. iv. 2. 3 fol. 



Appendix 273 

that I can recall has he personated the mere dogged, uncompromis- 
ing, mechanically obedient serf, or slave, namely, in the steward to 
Queen Goneril ; and an admirable conjunction of dominion and 
servitude that was. The ver}^ appointment of such a menial to such 
a mistress was, in itself, a touch of art. If we retrace the stories 
of Sir Walter Scott, we, I think, uniformly perceive that his idea 
of the connection between master and servant is strictly feudal. 
Throughout his writings we scarcely meet with any other idea of 
their reciprocal duties than that of irresponsible sway and command 
on the one hand, with mechanical and implicit obedience on the 
other, and not a spark of free and intrinsic attachment existing 
between them. He was a kind-hearted man, was Scott, but he was 
a thorough aristocrat by birth, education, and habit ; and this cir- 
cumstance cramped his prodigious brain, — like a Chinese foot ; for 
he had somewhat to seek in the fields of social philosophy. 

" Contrasted with the master-feeling of the 'Affections' in this 
play, we are presented with the shocking treachery of the Queen- 
mother — a character so odious, and even outrageous, as to amount 
almost to a monstrous anomaly. To my apprehension, there does 
not appear sufficient ground — in the light even of self-indulgence 
— for such wholesale, gratuitous wickedness; except, indeed, that 
there is a principle of evil in the great economy of Nature, and 
that some dispositions draw their sustenance from, and batten upon, 
stratagem and murder. In the case, however, of Cymbeline's 
Queen, Shakespeare has, with his own gentle wisdom, put a char- 
acteristic rebuke to her cruelty in the mouth of her physician, 
Cornelius, whom she has directed to concoct some poison for her. 
In answer to his inquiry as to her purport in requiring such danger- 
ous compounds, she says she intends trying their eff"ects on ' such 
creatures as we count not worth the hanging.' ' Your Highness shall 
from this practice but make hard your heart,' is his gentle remon- 
strance. This is a little effusion of humanity in relief to the savage 
craft of the murderess. But the whole detail of this woman (although 
below even a second-rate character) is perfectly consistent. 

CYMBELINE — 1 8 



^74 Appendix 

" Cymbeline, the King, is an ordinary specimen of humanity, in- 
vested with irresponsible power, — weak, wilful, and violent ; not, 
however, unimpressible to the emotion of a generous sentiment ; 
for, in the conclusion, he makes a handsome and natural atone- 
ment for his previous folly and misrule. The constitutional 
imbecility of the man is well manifested in his requiring the coun- 
sel of his stupid step-son, Cloten, at the conference with the am- 
bassador from Rome ; and, with his usual tact, Shakespeare 
has made the blurting ass most forward in the debate. With the 
true lout-intellect, he tells the ambassador that they *will not pay 
tribute to Rome for wearing their own noses.' And he closes the 
audience with this elegant peroration : * His Majesty bids you 
welcome. Make pastime with us a day or two longer ; if you seek 
us afterwards in other terms, you shall find us in our salt-water 
girdle. If you beat us out of it, it is yours ; if you fail in the ad- 
venture, our crows shall fare the better for you ; — and there 's an 
end.' This speech accurately tallies with the description of the man 
afterwards given by old Belarius, who, in his hiding-place in the 
mountains, recognizes him after years of absence. He says : * By 
the snatches in his voice, and burst of speaking, it is absolute 
Cloten.' No one like Shakespeare to give the whole of a man's 
manner in one lineo Again, in the opening of the 2d act, a speak- 
ing picture of him is presented to us, where he is fuming and 
fretting, ruffling and vapouring with two courtier lords, after a game 
at bowls ; in which his temper appears to be as bad as his play 
had been. In the scene with Pisanio (iii. 5) we have yet again full 
insight into the base soul of the man; — and all by concise yet plen- 
ary touches, apparently casual and inadvertent, but carefully and 
closely calculated. He has detected the letter from Posthumus to 
Pisanio, and taken it from him ; he there finds instruction that 
Imogen shall meet her husband at Milford-Haven. Having then 
ordered the servant to fetch him a suit of his master's garments, 
he falls into soliloquy, pondering his ruffianly intention against 
Imogen. * To the court I '11 knock her back, foot her home again. 



Appendix 275 

She hath despised me rejoicingly, — and I'll be merry in my re- 
venge.' It will be remembered that she had rejected with ladylike 
dignity his swinish suit to her : — 

' I am much sorry, sir, 
You put me to forget a lady's manners, 
By being so verbal ; and learn now, for all, 
That I, which know my heart, do here pronounce, 
By the very truth of it, I care not for you, 
And am so near the lack of charity — 
To accuse myself — I hate you, which I had rather 
You felt than make 't my boast.' 

In alluding to him in an after-part of the play, she says : — 

' That Cloten, whose love-suit hath been to me 
As fearful as a siege.' 

Lastly, his reputed animal courage is sagaciously accounted for by 
Belarius, who imputes it to defective judgment. And this is the 
solution of much of the headlong bravery that we hear of in the 
world, which, at times, is referable to phlegm and obtuseness of 
constitution. Cloten is a masterly varied specimen in Shakespeare's 
class of half-witted characters ; he is of the race, yet distinct and 
original in feature and bearing. One of the lords of the court 
says of him : — 

* That such a crafty devil as his mother 
Should yield the world this ass ! a woman that 
Bears all down with her brain ; and this, her son, 
Cannot take two from twenty, for his heart, 
And leave eighteen.' 



"The scenes in which old Belarius and the young princes, Guide- 
rius and Arviragus, his adopted sons, and stolen by him from the 
king, are engaged, form the sunshine of the play ; and their char- 
acters and mountain-life afford a bright relief to the court-treach- 



276 Appendix 

eries, stormy passions, and heart-sickness of the other portion. It 
is palpable that, whenever our poet places his persons under the 
open canopy of heaven, and in the unchartered wilds of rural 
nature, whether amid the solemn aisles and shadows brown of 
monumental oak, or on the crags and heathy slopes of the moun- 
tains old and bare, their language always takes a tone consonant 
wdth their free and primeval domain ; — as witness all the scenes 
in the forest of Arden, in As You Like It — and so again, in this 
Cymbeline : — these wild huntsmen talk the finest and the most 
vivid poetry of them all ; and how different is its character and 
pitch from those of the placid, ruminating shepherds who com- 
pose the still-life, as these mountaineers do the romantic and adven- 
turous life, of rudest nature ! What vigour is breathed into their 
every action ! and how finely are discriminated the energy, yet 
cautious circumspection of the old man, and the impetuosity and 
recklessness of the young and inexperienced ones ! What freshness, 
and what fancy too, — to say nothing of the homely wisdom, — in 
the sweet uses of their mountain life ! 

• You, Polydore, have prov'd best woodman, and 
Are master of the feast. Cadwal and I 
Will play the cook and servant ; *t is our match. 
The sweat of industry would dry and die 
But for the end it works to. Come, our stomachs 
Will make what 's homely savoury; weariness 
Can snore upon the flint, when resty sloth 
Finds the down pillow hard.' 

What a superb illustration of the delight of an active employment ! 

But this division of the play absolutely glitters with these drops of 

heavenly wisdom, like morning-dew upon the scented hawthorn. 

Again, what lustre and grandeur in Belarius's description of the 

dispositions in the two youths : — 

' O thou goddess, 
Thou divine Nature, how thyself thou blazon'st 
In these two princely boys ! They are as gentle 



Appendix 277 

As zephyrs, blowing below the violet, 
Not wagging his sweet head ; and yet as rough, 
Their royal blood enchaf d, as the rud'st wind, 
That by the top doth take the mountain pine, 
And make him stoop to the vale.' 

"Yet again, we note the plausible advantage taken by the poet 
to signalize the old prejudice of instinct of bi7'th, to distinguish the 
royal blood flow^ing in the veins of the two princely youths. I do 
but refer to the advantage taken of the popular prejudice, and have 
no argument for its physiological accuracy. Nevertheless, there is 
undeniable truth in the axioms put into the mouth of old Belarius ; 
for instance : — 

' Cowards father cowards, and base things sire base ; 
Nature hath meal and bran, contempt and grace.' 

Again, referring to the youths, he says : — 

' How hard it is to hide the sparks of nature ! 
These boys know little they are the sons of the king, 
Nor Cymbeline dreams that they are alive. 
They think they are mine ; and though trained up thus meanly 
r the cave wherein they bow, their thoughts do hit 
The roofs of palaces, and nature prompts them 
Beyond the trick of others. This Polydore, — 
The heir of Cymbeline and Britain, whom 
The king his father call'd Guiderius, — Jove! 
When on my three-foot stool I sit, and tell 
The warlike feats I have done, his spirits fly out 
Into my story, — say, "thus mine enemy fell, 
And thus I set my foot on 's neck ; " even then 
The princely blood flows in 's cheek, he sweats. 
Strains his young nerves, and puts himself in posture 
That acts my words. The younger brother, Cadwal, 
Once Arviragus, in as like a figure, 
Strikes life into my speech, and shows much more 
His own conceiving:.' 



I 



178 Appendix 

And so, in the full spirit of this principle, the poet, with character- 
istic boldness, has followed out the conduct of the young prince 
Guiderius in his contest with the booby-bully, Cloten, in which 
unconscious self-estimation and brutal assumption are felicitously 
associated and as dramatically contrasted. The vulgarity of low 
life is sufficiently offensive ; but there is no vulgarity so repugnant 
as the vulgarity of high life, because it commonly arises from an 
obtuse defiance of all that the wisest and most graceful of mankind 
have deemed essential to social interests and good order. This 
scene (iv. 2) is almost the only light one in the play. Cloten has 
followed Imogen in her flight towards Milford-Haven, and stum- 
bled upon the young mountaineer, Guiderius, whom he orders to 
yield, and they go out fighting. The prince afterwards returns 
with the boaster's head, saying : — 

'This Cloten was a fool, an empty purse; 
There was no money in 't. Not Hercules 
Could have knocked out his brains, for he had none.* 

That same instinct of nature Shakespeare has followed on, in the 
prompt and unconscious affection that the two youths discover for 
their disguised sister, claiming their hospitality on her pilgrimage. 
One of them calls her * brother.' 

' Brother, stay here ; are we not brothers? ' 

She repUes : — 

' So man and man should be; 
But clay and clay differs in dignity, 
Whose dust is both alike.' 

Like Perdita, in The Winter's Tale, consciously and unconsciously 
the regal instinct manifests itself. The young mountaineers are 
neither more nor less than kind-hearted, but plebeian, foresters 
in her then estimation. Again, reiterating the * instinct ' question, 
Guiderius says to his sister-brother : — 



Appendix 279 

' I love thee, I have spoke it, . . . 
As I do love my father.' 

Belarius exclaims : — 

' What ? how ! how ! 
Arviragus. If it be sin to say so, sir, I yoke me 
In my good brother's fault. I know not why 
I love this youth ; and I have heard you say, 
Love's reason 's without reason. The bier at door, 
And a demand who is 't shall die, I 'd say, 
My father, not this youth.' 

And then, how like our Shakespeare, to put the following impelled 
justification of the ill-appreciated plebeians in the mouth of the 
grateful and womanly Imogen : — 

' These are kind creatures. Gods, w^hat lies I have heard! 
Our courtiers say all 's savage but at court.' 

Lastly, upon the principle of ' breeding,' and of the mysterious 
influence of consanguinity, may be noted the allusion made to the 
*mole, cinque-spotted' upon Imogen's neck, by which lachimo 
traduced her to her husband. At the conclusion of the play, when 
the two youths are discovered to be her brothers, it is said that 
Guiderius may be identified as a son of Cymbeline, and conse- 
quently as a brother, by his having * upon his neck a mole, a san- 
guine star.' This touch of a personal triviality being brought to 
indicate a relationship, may, at first sight, appear insignificant to 
allude to ; but it proves the close attention of the poet, and the 
prevailing sense of * harmony ' in his mind, as a means he adhered 
to for perfecting a theory or a principle. 

" A considerable portion, indeed, of the play is a practical argu- 
ment to enforce the dignity as w^ell as the w;2worthiness of ' breed- 
ing' in the physical man ; at the same time, the secret and hidden 
force of * instinct.' I scarcely know of any arrangement more 
appealing to the gentler emotions of our nature than in this por- 
tion of the play, so triumphantly has been asserted the nobility of 



28o Appendix 

true bravery, as intimately connected with gentleness of heart ; and, 
assuredly, the highest order of courage is never unattended by the 
profferings of benevolence. Thus we have the daily practice in 
the two youths of paying honour to the grave of Euriphile, the 
wife of Belarius, and their supposed mother ; their primitive and 
rational piety when entering upon their morning labours, — * Hail, 
Heaven ! ' No one better than Shakespeare knew how to combine 
true piety with bravery ; or, in other words, what constitutes the 
most exalted magnanimity. And, lastly, we have their affecting 
and childlike sorrow when they are performing the funeral rites 
of Fidele — supposed to be dead. 

' Guiderius. Why he but sleeps. 

If he be gone, he '11 make his grave a'bed ; 
With female fairies will his tomb be haunted, 
And worms will not come to thee. 

Arv tragus. With fairest flowers, 

Whilst summer lasts, and I live here, Fidele, 
I '11 sweeten thy sad grave. Thou shalt not lack 
The flower that 's like thy face, pale primrose ; nor 
The azure harebell, like thy veins ; no, nor 
The leaf of eglantine, whom not to slander, 
Out-sweeten'd not thy breath. The ruddock would 
With charitable bill — O bill, sore shaming 
Those rich-left heirs that let their fathers lie 
Without a monument ! — bring thee all this ; 
Yea, and furr'd moss besides, when flowers are none, 
To winter-ground thy corse. Say, where shall 's lay him? 

Guiderius. By good Euriphile, our mother. 

Arviragus. Be it so ; 

And let us, Polydore, though now our voices 
Have got the mannish crack, sing him to the ground, 
As once our mother; use like note and words, 
Save that Euriphile must be Fidele.' 

Then follows an exquisite touch of natural pathos ; Guiderius in 
answer says ; — 



Appendix • 281 

• Cadwal, 
I catinot siiig ; I *11 weep, and word it with thee, 
For notes of sorrow out of tune are worse 
Than priests and fanes that lie/ 

And to this succeeds one of those observances in the primitive 
church which the poet (true to his own nature) chose to honour, 
having already put the axiom into the mouth of Imogen, ' The 
breach of custom is the breach of all ; ' and so here : one of the 
brothers, when they are proceeding to lay the body in the earth, 
objects : — 

' Nay, Cadwal, we must lay his head to the east ; 
Our father hath a reason for 't.' 

" Having once given us a clue to the prevailing quality in their 
dispositions ('gentle as zephyrs blowing below the violet') the 
poet never loses the thread. They are punctually observant — 
even in the absence of their father — of his minutest wish and 
injunction. Is not this absolute consistency in character delinea- 
tion? Never were obsequies perform'd with more graceful pathos 
than those at the funeral of the ' fair Fidele ; ' and, surely, never 
was parting hymn more aptly appropriated to its subject and 
primitive occasion. No rural poet of the old world could have 
surpassed it in simple, natural dignity and tender regret. There 
is music in the words, and the music of the heart breathes like 
wafted odours through the entire composition. And the closing 
farewell, in undiminished beauty of sentiment, closes the scene : — 

' Here 's a few flowers ; but 'bout midnight more. 
The herbs that have on them cold dew o' the night 
Are strewings fitt'st for graves. Upon their faces. 
You were as flowers, now wither'd; even so 
These herbs shall, which we upon you strew. — 
The ground that gave them first has them again ; 
Their pleasures here are past, so is their pain.' 

" I know of no composition to surpass in exquisite taste and ten- 
derness the ceremony and the obsequies performed at the funeral 



282 Appendix 

of the divine little pilgrim to Milford-Haven. Let it be borne in 
mind that the predominance of rich extracts quoted in my lectures 
are lavished upon the second and third rate characters of our poet; 
* The greatest is yet behind.' Be it repeated again and again that, 
to come at something like an estimate of the wealth of his mind, 
we have but to notice its prodigality, as heaped upon the less con- 
sequential, and even the insignificant, members of his dramatis 
personas. 

" No being that ever lived studied less than Shakespeare the art 
of reserving his strength for the purpose of * making points,' as the 
actors term it. He had no occasion to do this, and he must have 
known it, for his strength was ever at the flood ; and as the event 
arose, so he grappled with and overcame it, like a mighty river 
that rolls on, resistless, now bearing all before it — rocks, trees, 
and spars whirled aloft in its mountain foam — or equally prevail- 
ing when it meanders through some flowery dale, calm as its own 

face, 

' And makes sweet music with the enamell'd stones, 
Giving a gentle kiss to every sedge 
It overtaketh in its pilgrimage ; 
And so, by many winding nooks it strays 
With willing sport to the wild ocean.* 

" Such was the genius of Shakespeare. In other plays he has 
doubtless manifested sublimer bursts of passion ; but in no one of 
them has he set forth the prevailing power of his own bland and 
sweet disposition in the omnipotence of meek forbearance and 
untiring affeotion as in the play -of Cymbeline^^ 



The Time-Analysis of the Play 

I give below the summing-up of Mr. P. A. Daniel's "time- 
analysis " in his valuable paper " On the Times or Durations of the 
Action of Shakspere's Plays" (^Trans, of New Shaks, Soc, 1877-79, 



Appendix 283 

p. ^47), with a few explanatory extracts from the preceding pages 
appended as foot-notes : — 

"The time of the drama includes twelve days represented on the 
stage, with intervals. 

"Day I. Act I. sc. i.-iii. 

An Interval, Posthumus's journey to Rome. 
" 2. Act I. sc. iv. 

A71 Interval. lachimo's journey to Britain. 
** 3. Act I. sc. v.i and vi., Act II. sc. i. and part of sc. ii. 
" 4. Act II. sc. ii., in part, and sc. iii. [Act III. sc. i. also 
belongs to this day."^] 
An Interval, lachimo's return journey to Rome. 
" 5. Act II. sc. iv. and v. 

An Inte^'val. Time for Posthumus's letters from 
Rome to arrive in Britain. 
[Act III. sc. i. See Day No. 4.] 
" 6. Act III. sc. ii. and iii. 

An Ifitervalf including one clear day. Imogen and 
Pisanio journey to Wales. 

1 " Another possible arrangement in time for this sc. v. would be to 
make it concurrent with Day No. 2 ; or again, it might have a separate 
day assigned to it, to be placed in the interval marked for lachimo's 
journey to Britain. ... Its position as the early morning of Day No. 3, 
* whiles yet the dew 's on ground,' is, however, quite consistent with my 
scheme of time." 

2 "Act III. sc. i. Britain. Cymbeline and his Court receive in state 
Caius Lucius, the ambassador, who comes to demand the tribute till 
lately paid to Rome. The tribute is denied, and Lucius denounces in 
the Emperor's name war against Britain. His office discharged, he is 
welcomed to the court, and bid ' make pastime with us a day or two, 
or longer.' The time of this scene is so evidently that of Day No. 4, 
that I am compelled to place it here within brackets, as has been 
done in other cases where scenes are out of their due order as regards 
time." 



284 Appendix 



" Day 7. Act III. sc. iv. 

An Interval, including one clear day, Pisanio 
returns to Court. 
" 8. Act III. sc. V. and vi. 

[Act III. sc. vii. In Rome. Time, between Days 
Nos. 5 and 6.I] 
An Interval, including one clear day. Cloten 
journeys to Wales. 
" 9. Act IV. sc. i. and ii. 

An Interval — a few days perhaps. 
" 10. Act IV. sc. iii. 
" II. Act IV. sc. iv. 
" 12. Act V. sc. i.-v." 



List of Characters in the Play 

The numbers in parentheses indicate the lines the characters 
have in each scene. 

Cymbeli7ie: i. 1(20); ii. 3(15); iii. 1(30), 5(29); iv. 3(21); 
V. 5(176). Whole no. 291. 

Cloten: i. 2(10); ii. 1(31), 3(72); iii. 1(24), 5(88); iv. 
1(27), 2(23). Whole no. 275. 

Posthumus: i. 1(29), 4(57); ii. 4(96), 5(35); v. i(33)»3(85)» 
4(69), 5(44)- W^hole no. 448. 

^ "Act III. sc. vii. Rome. Enter two Senators and Tribunes. W^e 
learn that Lucius is appointed general of the army to be employed in 
the war in Britain. This army is to consist of the forces ' remaining 
now in Gallia,' supplemented with a levy of the gentry of Rome. This 
scene is evidently out of place. In any time-scheme it must come 
much earlier in the drama. ... It may be supposed to occupy part 
of the interval I have marked as * Time for Posthumus's letters from 
Rome to arrive in Britain.' " 



Appendix 285 

Belarius: iii. 3(90), 6(30) ; iv. 2(109), 4(26) ; v. 2(3), 5(78). 
Whole no. 336. 

Guiderius : iii. 3(11), 6(10); iv. 2(113), 4(19); v. 2(1), 
5(15). Whole no. 169. 

Arviragus: iii. 3(11), 6(13); iv. 2(90), 4(19); v. 2(1), 
5(9). Whole no. 143. 

Philario : i. 4(20) ; ii. 4(24). Whole no. 44. 

lachimo: i. 4(83), 6(154); ii. 2(41), 4(73) ; v. 2(11), 5(74). 
Whole no. 436. 

Lucius: iii. 1(19), 5(10); iv. 2(43); v. 2(5), 5(27). Whole 
no. 104. 

Pisanio: i. 1(10), 3(13), 5(3), 6(4); ii. 3(1); iii. 2(27), 
4(86), 5(28) ; iv. 3(16) ; V. 5(29). Whole no. 217. 

Cornelius : i. 5(25) ; v. 5(48). Whole no. 73. 

Captain: iv. 2(11) ; v. 3(4). Whole no. 14. 

2d Captain: v. 3(6). Whole no. 6. 

\st Gentleman : i. 1(66). Whole no. 66. 

2d Gentleman : i. 1(13). Whole no. 13. 

1st Lord: i. 2(15); ii. 1(7), 3(7); iii. 1(1); iv. 3(15); v. 
3(7). Whole no. 52. 

2d Lord : i. 2(18) ; ii. 1(32), 3(1) ; iii. 1(1). Whole no. 52. 

Frenchman : i. 4(25). Whole no. 25. 

Musician : ii. 3(9). Whole no. 9. 

Messenger : ii. 3(2) ; v. 4(2). Whole no. 4. 

Attendant : iii. 5(3). Whole no. 3. 

1st Senator : iii. 7(15). Whole no. 15. 

2d Senator : iii. 7(1). Whole no i. 

1st Tribune: iii. 7(3). Whole no. 3. 

Soothsayer : iv. 2(7) ; v. 5(36). Whole no. 43, 

\st Gaoler : v. 4(51). Whole no. 51. 

2d Gaoler : v. 4(1). Whole no. i. 

1st Brother : v. 4(14). Whole no. 14. 

2d Brother : v. 4(8). Whole no. 8. 

SUilius : y. 4(40). Whole no. 40. 



286 Appendix 

Jupiter: v. 4(21). Whole no. 21. 

Queen: i. 1(33), 5(67) ; ii. 3(10) ; iii. 1(22), 5(34). Whole 
no. 166. 

Imogen: i. 1(45), 3(33), 6(83); ii. 2(10), 3(54); i". 2(59), 
4(i34)» 6(57) ; iv. 2(85) ; v. 5(36). Whole no. 596. 

Lady: i. 3(2), 5(1) ; li. 2(2), 3(9) ; v. 5(1). Whole no. 15. 

Mother: v. 4(12). Whole no. 12. 

*M//".- V. 4(1). Whole no. i. 

In the above enumeration, parts of lines are counted as whole 
lines, making the total in the play greater than it is. The actual 
number of lines in each scene is as follows : i. 1(78), 2(43), 3(40), 

4(185), 5(87), 6(210); ii. 1(70), 2(51), 3(160), 4(152), 5(35) ; 

iii. 1(87), 2(84), 3(i07)» 4(196), 5(168), 6(96), 7(16) ; iv. 1(27), 
2(403), 3(46), 4(54); V. 1(33), 2(18), 3(94), 4(215), 5(485). 
Whole no. in the play, 3340. 

Imogen speaks more lines than any other female character in 
Shakespeare except Rosalind, who has 749 lines, and Cleopatra, 
who has 670. The only other women with more than 500 lines 
are Portia (J/, of F".), who has 589, and Juliet, who has 541. 



INDEX OF WORDS AND PHRASES 
EXPLAINED 



abode (of time), 197 
absolute (= certain), 236 
abuse (= corrupt) , 246 
abuse (= deceive), 190, 

199, 224 
acquainted of, 200 
act (= action), 191 
action (= course) , 255 
adjourned (= delayed), 

254 
admiration (= wonder), 

187, 242 
adorer, not friend, 189 
adventured (= ventured), 

200, 225 

advice (= consideration), 

184 
-^neas, false, 222 
afeard, 236 

affected (= loved), 257 
affiance, 200 
affirmation, t88 
affront (= confront), 247 
affront (noun), 252 
Afric (= Africa), 184 
after (= afterwards), 203, 

248 
after-eye, 186 
against all colour, 212 
Ajax', 242 

amazed (= in a maze) , 247 
amend (= surpass) , 260 
anchors (figurative), 264 
ancient (= aged), 250 
answer (= answer to) , 238 
answer (= penalty), 248 
answer (= reprisal), 252 
answered (= done like) , 

252 
ape, 203 
apparent, 209 
appears he hath had, 234 
apprehension, 236 
approbation (= proving), 

190 



approve (= prove), 246, 

260 
approvers, 209 
Arabian bird, 193 
arm (= take in arms) , 246 
arras-figures, 202 
articles, 191 
as (=asif}, 235,249, 255, 

259 
as (= for) , 199 
as (omitted), 237 
assumed this age, 262 
at heaven's gate, 204 
at land, 226 
at point, 212, 229 
atone, 188 
attemptable, 189 
attending (= awaiting) , 

254 . ^ 
attending for a check, 217 
averring, 260 
avoid (= begone), 183 

backside the town, 185 

base (= prison-base), 250 

basilisk, 210 

bate (= abate), 215 

bay (=bark at), 260 

be (= are), 211 

be what it is, 255 

beastly, 219 

becomed, 264 

benefit o' the wind, 246 

bent, to the, 179 

beseech your patience, 184 

beseeming (noun), 264 

best, you 're, 216, 229 

bestrid, 248 

betid, 247 

beyond beyond, 215 

bid as I 'd buy, 231 

blest fields, 255 

blest pray you be, 263 

bloods, 179 

boiled stuff, 199 

287 



bold (that) , 209 
book (= tablet), 255 
bondage (= fidelity), 211 
bore in hand, 257 
bound (play upon), 234 
brain (verb), 255 
brands (= torches), 210 
bravely, 202, 210 
bravery (= defiance), 216 
brawns, 245 
bring (= accompany), 

brogues, 239 
brotherly (adverb), 237 
bugs (= bugbears), 251 
buy my injuries, 182 
by-peeping, 198 

calves'-guts, 204 

cap (= obeisance), 218 

capon (play upon), 201 

carl, 249 

carriage (= carrying ofQ, 

227 
cased (= masked), 250 
Cassibelan, 180 
cave (verb), 237 
cave-keeper, 245 
century (= hundred), 241 
chance thou changest on, 

192 
change (= caprice), 211 
characters (= letters), 235 
characters (= writing), 

214 
charmed, 251 
charming, 186, 251 
check (= rebuke), 217 
cherubins, 210 
cinque-spotted, 203 
circumstances (= details), 

209 
citizen ( =effeminate) , 233 
civil (= civilized), 230 
clean (adverb), 229 



288 



Index of Words and Phrases 



clip (= embrace), 208, 266 

close (= secret), 228 

clotpoll, 238 

clouted brogues, 239 

cloy (= claw), 255 

cloyed importantly, 248 

cognizance, 211 

cold bonds, 254 

colours, 187 

collection (= inference), 
265 

common-kissing Titan, 
226 

companion (=fellow), 201 

company (verb), 264 

comparative for, 208 

conclusions (= experi- 
ments), 191 

condition (= disposition), 

259 
conduct (= escort), 227 
confiners, 245 
confiscate (accent), 262 
confounded, 188 
confusion, 188 
consequence, 208 
consider. 204 
consider (= remember), 

257 
consider (= requite), 204 
considered of, 224 
consign to thee, 244 
constant-qualified, 189 
consummation, 244 
containing (= contents), 

265 
content thee, 192 
conveyed (= stolen), 181 
convince (= overcome), 

189 
cordial (= reviving), 192 
corners (of wind), 209 
counters, 256 
courages, 209 
court (= court affairs), 

228 
crack (= bluster), 259 
cracked (= broken), 136, 

260 
crare, 239 
crave to be demanded, 

246 
creeps acquaintance, 187 
crescent note, 187 
crop (verb), 195 
cross the book, 218 



curbed from enlargement, 

207 
curious (= careful), 201 
Cytherea, 202 

dagger in my mouth, 235 

dead (= as if dead), 261 

dear loss, 262 

debitor and creditor, 256 

decay (= destroy), 192 

deep (of swearing), 207 

defect, 236 

definite, 196 

delicate, 257 

delighted (= delightful), 

255 
demand (=ask). 246 
depend (= impend), 247 
depending on their brands, 

210 
desire my man's abode, 197 
desperate bed, 247 
Diana's rangers, 205 
die the death, 236 
dieter, 235 

diftering multitudes, 231 
diminution of space, 186 
disedged, 223 
dishonestly aiflicted, 234 
distinction rich in, 264 
divine (accent), 202,237 
doers' thrift, to the, 249 
doing nothing for a bribe, 

217 
doubting things go ill, 198 
dragons of the night, 203 
drawn (= emptied), 256 
drawn to head, 237 
drive us to a render, 248 
drug-damned, 220 
dullard, 261 
during their use, 248 

each elder worse, 249 
eagle (feminine), 266 
elected deer, 224 
election, a true, 185 
empery, 199 
enchafed, 237 
encounter, 186, 231 
encounter revolt, 198 
end (= die), 257 
enforce (= force) ,232, 247, 

261 
enlargement, 207 
entertain (= employ), 246 



estate (= state), 257 

even (verb), 227 

even before, 229 

event (= issue), 227 

exhibition (= allowance), 
199 

exile (accent), 228 

exorciser, 244 

extend him, 187 

extend him within him- 
self, 180 

fail (noun), 223 

fairies (malignant), 202 

fallen oft' (= revolted), 231 

false (verb), 205 

fan (metaphor), 200 

fangled, 255 

fast (= fasted) , 246 

fatherly (adverb), 205 

favour (= beauty), 196 

favour (= personal ap- 
pearance), 221,236,258 

feared, 209 

fearful (= full of fear), 221 

feat (adjective), 257 

feated, 180 

feature (= shape), 259 

fedary, 213 

fell (= cruel), 236 

fetch us in, 237 

fierce, 264 

file, 251 

fitment, 264 

fits (= befits), 227 

fitted (= prepared), 257 

fled forward, 185 

fools are not mad folks, 207 

foot us, 255 

for (= because), 222, 237 

for food (= for want of 
food), 229 

for his heart, 202 

fore-end, 219 

forespent, 205 

forestall him of, 228 

fore-thinking, 227 

forfeiters, 214 

forfend, 262 

forlorn (accent), 264 

foundations (play upon), 
229 

fragments, 251 

franchise, 212 

franklin, 215 

fraught (noun), 183 



Index of Words and Phrases 289 



fretted (= embossed), 210 
friend (= lover), 189 
friendly (adverb), 266 
from (= away from), 187, 

219, 265 
full of view, 196 
full-hearted, 250 
full- winged, 216 
fumes, 245 
furnaces (verb), 197 

gain his colour, 237 
gains the cap, 218 
gall, 182 
Gallian, 197 
gallowses, 256 
gan, 204, 251, 260 
gave the affront, 252 
gave you ground (play 

upon), 185 
geek, 254 

gentle (= well-born) , 234 
giglot, 212 
gilded, 251 
gins, 204 
go back, 189 
go even, 188 
good sign, 185 
good wax, thy leave ! 214 
Gordian knot, 203 
great morning, 235 
great'st, 199 
guise of the world, 249 

habits (= dress), 249 
hand-fast, 192 
hand-in-hand, 189 
hangings, 219 
happily (= haply), 233 
happy (= fortunate), 227 
harder (=J;oo hard), 226 
hardiment, 254 
hardiness, 230 
hardness (= hardship), 

229 
hark thee, 192 
have at it, 262 
have with you ! 248 
having (noun), 185 
haviour, 220 
he (= him), 179 
head (= armed force), 237 
heard no letter, 247 
Hecuba, 245 
heir of his reward, 256 
herblets, 245 



hilding, 208 

his time, 180 

holp, 265 

home (adverb), 228, 245 

how (= however), 233 

howsoe'er, 237 

hunt (= game), 231 

huswife, 234 

I am in heaven, 186 
ignorant, 212 j 

imperious (= imperial), i 

234 
imperseverant, 232 
importance (= import), 

188 
importantly, 248 
importuned (accent), 260 
in (= into), 231 
in (= on), 230 
in 's, t8o 

i' the clock's behalf, 215 
in their serving, 227 
in watch, 221 
incivil, 262 
ingenious, 238 
injurious, 212, 236 
instinct (accent), 238, 264 
instruct of, 246 
insultment, 229 
inter'gatories, 264 
into, 200 

inward (noun), 220 
irregulous, 245 
issues (= acts) , 202 
it (possessive), 226 

jack (in bowling) , 201 
Jack-slave, 201 
jay (= harlot), 221 
jealousy, 247 
jet (= strut), 216 
jewel, 191, 208, 258 
join his honour, 180 
journal (= diurnal), 233 
Jovial, 245, 255 
joyed (transitive), 265 
jump (=risk), 256 
justicer, 260 

keep at utterance, 213 
keep house, 216 
ken, within a, 229 
kissed the jack, 201 
kitchen-trulls, 259 
knowing (noun), 188, 207 



known together, 188 

labour be his meed ! 229 

laboursome, 226 

lady, ladies, woman, 228 

laming, 259 

lapped, 263 

lapse, 229 

lay (= wager) , 190 

leaned unto, 182 

learn'd {= learned), 213 

learned (= taught), 191 

learnings, 180 

leave (= leave off), 189, 
202 

leaven (figurative), 222 

Leonati seat, 254 

Leonatus', 231 

let blood, 237 

let proof speak, 213 

lie bleeding in me, 220 

liegers, 192 

lie thy part, 260 

life of the need, 251 

like (= equally), 219 

like {— please) , 205 

like a crow, 216 

likely to report them- 
selves, 210 

limbmeal, 211 

line, 205 

liver (seat of courage), 
256 

long of, 261 

look (reflexive), 258 

look upon (= face) , 209 

looks us like, 228 

loud'st, 228 

lover (feminine), 259 

loyalist, 182 

Lucina, 254 

Lud's town, 212, 236 

mad (verb), 203, 245 
made fault, 231 
made much on, 238 
made scruple, 259 
make fine, 218 
makes him, 187, 236 
makes your admii'ation, 

196 
mannerly (adverb), 231 
JNIary-buds, 204 
match (= compact), 230 
matter (= business), 247 
mean affairs, 215 



CYMBELINE — 1 9 



290 Index of Words and Phrases 



med'cinable, 214 
medicine (verb), 242 
Mercurial, 245 
mere (= absolute), 236 
mile (plural), 245 
mineral (= poison), 257 
minion (= darling), 205 
miracle, 234 
moe, 212, 252 
moiety, 190 
monument, as a, 203 
more ordered, 209 
mortal (= deadly), 188, 

251, 257 
most bravest, 245 
most coldest, 203 
most worthiest, 200 
motion (= impulse), 211 
mows (= grimaces), 196 
mulier (derivation), 265 
Mulmucius, 212 
musics, 205 
mutest, 198 

naught, 261 

needle (monosyllable), 

185 
nice (= affected), 211 
niceness, 225 
Nile (without article), 221 
noble misery, 251 
none a, 197 
nonpareil, 211 
north (= wind), 186 
not (transposed), 2oo, 

248 
note (= distinction) , 187, 

193, 208, 219 
note (= list\, 191 
nothing (adverb), 182, 189 

obedient as the scabbard, 

223 
occasions, 257 
odds (number), 249 
'ods pittikins, 245 
of (= by), 231 
of (= on), 248 
of's, 179, 186 
offered mercy, 186 
on (= of), 184, 238 
opened (= disclosed), 257 
oppositions, 232 
or (= before) , 209 
or ere (= before), 215, 

251 



orbs (Ptolemaic), 263 
ordered (= disciplined), 

209 
ordinance, 237 
out-craftied, 220 
out-peer, 231 
outsell, 210, 228 
outstood, 201 
outward (noun), 179 
overbuys, 184 
o'ergrown, 248 
over his occasions, 257 
owe (= own), 212 

packing, 228 

paid (play upon), 255 

paid (= punished), 242 

paled in, 212 

panged, 224 

pan tier, 208 

parish, 237 

parted (= departed) , 230 

partisans (= halberds), 

246 
passable, 185 
passage (occurrence), 223 
peculiar (= personal), 257 
peevish (= silly), 197 
perfect (= assured), 213, 

237 

perforce, 213 

perturbed (accent), 224 

pervert (= avert), 211 

Phoebus' wheel, 259 

physic love, 214 

pickaxes (= fingers) , 246 

pinch (= pang), 183 

pleaseth (=if it please), 
191 

point forth, 266 

Posthumus (accent), 181 

posting winds, 221 

postures beyond brief na- 
ture, 259 

power of, 233 

power on you, 265 

practice (= artifice), 260 

prefer (= recommend), 
205, 246, 262 

preferment, 256 

preferred (= promoted) , 
208 

pregnant (= probable), 

245 
presently, 208 
pretty and full of view, 225 



priest (feminine), 199 
prince it, 219 
princely fellows, 223 
prize (= value), 231 
probation (= proof) , 263 
profane (accent), 208 
prone, 256 
proof (= experience) , 197, 

219 
proof (of armour), 256 
proof (= trial), 213 
proper (= goodly), 222 
proper (= own), 236 
prunes (verb), 255 
pudency, 211 
put on (= incite), 249 
puttock, 184 

quarrellous, 226 
quartered fires, 248 
quench (intransitive), 192 
quire, 219 

ramps, 199 

rangers, 205 

rank (play upon), 201 

raps, 197 

rareness, 223 

rar'st, 259 

ravening, 196 

ready (= dressed) , 206 

reason (= talk), 233 

recoil (= fall off), 199 

referred, 179 

refts (= reft'st) , 220 

remain (noun), 213 

render (noun), 248 

render (= state), 258 

reserved my duty, 182 

resty, 230 

retire (noun), 251 

revenue (accent), 208 

revolt (= faithlessness"!, 

198 
revolts (= deserters) , 247 
rip thy heart, 228 
ripely, 227 

ripped (play upon), 222 
Romish, 200 
ruddock, 241 
rud'st, 238 
rushes (for floors), 202 

safe (= sound), 237 

saucy, 200 

saving reverence of, 232 



Index of Words and Phrases 291 



saw (= have seen), 235 
say you, sir ? 246 
sayest thou ? 201 
scar, 262 

scorn (= mockery), 255 
scriptures, 223 
sear, 182 

searched (= sought), 256 
seasons comfort, 193 
seconds (noun), 252 
see (= see each other), 1 83 
seek us through, 237 
self (= same) , 199 
self-figured, 207 
senseless (double mean- 
ing), 205 
senseless of, 183 
set on (= march on), 266 
set up (= instigate), 223 
shaked, 192 
shall (= will), 225 
shall 's, 242, 260 
shame (= modesty), 250 
shameless-desperate, 257 
sharded beetle, 216 
shes, 186, 196 
shift his being, 192 
shop (= storehouse) , 259 
short (verb), 201 
shot (= reckoning), 255 
'shrew me, 208 
shrine (= image), 259 
Sienna's brother, 246 
sign (= outward show) . 

.^85 
silly ( = rustic), 252 
simular, 260 
single oppositions, 232 
Sinon's weeping, 222 
sir, 200, 258 
slaughter-man, 251 
slight in sufferance, 228 
slip you, 247 
snuff, 198 

so (= be it so), 203, 227 
so (omitted) , 250, 251, 260 
solace (intransitive), 198 
soldier to, 227 
solicits (noun), 205 
something (adverb), 182, 

190 
sorer, 229 
sots (= fools) , 259 
south-fog rot him ! 208 
speak him far, 179 
speak thick, 215 



spectacles (=eyes), 195 
speed (=fare), 256 
speed (= fortune) , 229 
spirits (monosyllable) , 219 
spongy south, 246 
sprightly, 231 
sprited with, 208 
spritely shows, 265 
spur and stop, 198 
spurs (of trees), 235 
squire's cloth, 208 
staggers (noun), 260 
stand (in hunting), 205, 

224 
stand (= withstand) , '^51 
stand for, 228 
starve (with cold), iqi 
states (= persons), 221 
statist, 209 
stir him, 234 
stor>^ (verb), i83 
straight-pight, 259 
strain (= race), 223, 233 
strange (= foreign), 197 
stride a limit, 219 
such . . . that, 1 83, 199, 

209, 216 
suf?iceth(=it suffices) ,257 
summer news, 220 
suppliant (= auxiliary), 

232 
supplyment, 227 
supreme (accent), 193 
sur-addition, 180 
sweet'st, 262 
swerve (= err), 255 
synod, 254 

tables (= letters), 214 
take in (= subdue). 213, 

237 
take me up, 201 
take ofT some extremity, 

220 
take or lend, 230 
tanlings, 248 
targes, 256 
tasting of, 262 
taught of, 259 
temper (=mix), 260 
Tenantius, 180 
tender (= presentation) , 

201 
tender of, 22 8 
tent (= probe), 224 
Tereus, 203 



thee (= thou), 192 

then to shift it, 185 

there be, 211 

thereto (= besides), 248 

Thersites, 242 

thinks scorn, 248 

this (= this is), 203 

those ... as, 262 

three thousand confident, 

250 
throughfare, 185 
throughly, 209, 230 
thunder-stone, 244 
tinct, 202 
tir'st on, 223 

to (= compared with) , 219 
to (= in addition to), 245 
to (omitted) , 203 
to friend, 190 
to the east (graves), 242 
to the note o' the king, 247 
tomboys, 199 
tongue (verb), 255 
touch more rare, a, 183 
touch my shoulder, 252 
toys (= trifles), 238 
trims, 227 

troth (= truth), 261 
trow, 196 

true (= honest), 205 
tune (= voice) , 260 
turbans, 216 
twinned, 195 

unbent, 224 

under her colours, 187 

undergo (= undertake), 
190, 229 

undertake every com- 
panion, 201 

unlustrous, 198 

unnumbered (beach), 195 

unprizable, 189 

unshaked, 202 

unspeaking, 259 

untwine with, 235 

up (= put up), 210 

up-cast, 201 

upon a desperate bed, 247 

upon our note, 248 

utterance, at, 213 



vantage, 186, 205, 260 
venge, 198 

verbal (= verbose) , 207 
vomit emptiness, ig6 



292 Index of Words and Phrases 



voyage upon her, 191 

wage (— wager), 190 
wake mine eyeballs blind, 

224 
walk (= withdraw), 185, 

258 
wanton (masculine), 233 
warrant of bloody affirma- 
tion, 188 
watching, 209 
weeds (— garments), 249 
wench-like, 242 
what (=why), 221 
what mortality is ! 232 
what thing is it ! 248 
whenas, 255, 265 



whereon, 220 

which (=who), 207, 245 

whiles, 191 

whiter than the sheets, 

202 
who (=whom), 200, 219, 

235, 257 
whom (= which), 241 
whom (= who), 190 
whose mother was her 

painting, 221 
will not from it, 191 
windows (= ej'elids) , 202 
winds of all the corners, 

209 
wink, 204, 210, 256 
winter-ground, 242 



wisely definite, 196 
witch (masculine), 200 
with (= by), 221 
woe is my heart, 256 
woodman (= hunter), 230 
words him, 187 
worms (= serpents), 221 
wrack, 197, 246 
wrings (= writhes), 231 
write against, 211 
wrote (= written), 227 
wrying, 249 

year's age, 183 

yet (transposed), 206,266 

yond, 216 

you *re best consider, 216 



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